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Allied  War  Salon 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/alliedwarsalonexOOunse 


EDWIN  H.  BLASHFIELD 
Carry  On 


Allied  War  Salon 


Introduction  by 
A.  E.  GALLATIN 


The  net  profits  of  this  exhibition  will  be 
given  to  the  Art  War  Relief 


December  9  to  24,  1918 


American  Art  Galleries 

Under  the  Management  of  American  Art  Association 
Madison  Square,  South,  New  York 


“If  the  Almighty  ever  made  a 
mistake,  it  was  when  he  created 
the  German.”— Whistler. 


The  design  reproduced  on  the  cover  is 
from  a  plaque  modeled  for  the  Art 
War  Relief  by  Mr.  Paul  Manship. 


This  Exhibition  is  held  under  the  auspices  of 

The  Division  of  Pictorial  Publicity 

Charles  Dana  Gibson,  Chairman 
F.  D.  Casey,  Vice-Chairman 
Albert  Eugene  Gallatin, 

Chairman,  Committee  on  Exhibitions 
OF  THE 

Committee  on  Public  Information 

George  Creel,  Chairman 
The  Secretary  of  State 
The  Secretary  of  War 
The  Secretary  of  the  Navy 


With  the  cooperation  of 

Committee  on  Arts  and  Decoration, 

The  Mayorjs  Committee  on  National  Defense 

and 

The  American  Federation  of  Arts 


Acknowledgment 

Acknowledgment  is  made  to  the  painters, 
illustrators  and  sculptors  who  have  so  gener¬ 
ously  loaned  their  creations  to  this  exhibition. 
No  group  of  men  have  shown  a  finer  patriotic 
spirit  and  an  eagerness  to  serve  the  country 
in  her  hour  of  need,  or  been  of  more  service, 
than  the  artists.  Since  America’s  entrance 
into  the  war  they  have  presented  to  the 
authorities  over  fourteen  thousand  drawings, 
paintings  and  posters. 

Lithographs  and  drawings  have  very  kindly 
been  loaned  by 

The  British  Government 
The  Italian  Government 
Mrs.  Fiske  Warren 
John  T.  Spaulding,  Esq. 

Messrs.  Frederick  Keppel  &  Co. 

Messrs.  Brown  Robertson  Co. 

Duncan  Phillips,  Esq. 

A.  E.  Gallatin,  Esq. 


Committee  on  Arrangements 

Albert  Eugene  Gallatin,  Esq., 

Chairman 

F.  D.  Casey,  Esq. 

Charles  Dana  Gibson,  Esq. 

Thomas  E.  Kirby,  Esq. 

Du  ncan  Phillips,  Esq. 

W.  Frank  Purdy,  Esq. 

Augustus  Vincent  Tack,  Esq. 


Patrons 


Hon.  Robert  Lansing 

The  Secretary  of  State 

Hon.  Newton  D.  Baker 

The  Secretary  of  War 

Hon.  Josephus  Daniels 

The  Secretary  of  the  Navy 

Sir  Henry  Babington  Smith, 

K.C.B.,  C.S.I.,  C.H. 

The  Acting  British  High  Commissioner 

Count  V.  Macchi  di  Cellere 

The  Ambassador  of  Italy 


Reception  Committee 

Herbert  Adams,  Esq. 

Mrs.  Charles  B.  Alexander 
Paul  W.  Bartlett,  Esq. 
Major-General  J.  Franklin  Bell 
Mrs.  Nicholas  Murray  Butler 
Mrs.  Henry  P.  Davison 
Mrs.  Chari.es  Dana  Gibson 
Mrs.  E.  H.  Harriman 
Thomas  Hastings,  Esq. 

Hon.  Myron  T.  Herrick 
Archer  M.  Huntington,  Esq. 
Clarence  H.  Mackay,  Esq. 

Henry  MacDonald,  Esq. 

Mrs.  Vanderbilt 

Mrs.  Cornelius  Vanderbilt 

Eloyd  Warren,  Esq. 

Mrs.  Harry  Payne  Whitney 


Allied  War  Salon 


Art  and  the  War* 


by 

A.  E.  Gallatin 

I 

The  Great  War  has  been  waged  to  a  large  extent  with  explo¬ 
sives  and  machinery — very  different  from  the  individual 
combat  which  the  soldier  of  ancient  Greece  engaged  in  when 
he  went  into  battle.  It  is  a  far  cry  from  the  athletic  figures 
of  Greek  warriors  on  the  frieze  of  the  Parthenon  to  Nevin- 
son’s  painting  which  shows  three  men  working  a  mitrailleuse 
down  in  a  trench,  barbed  wire  silhouetted  against  the  sky. 
These  three  men  are  a  part  of  their  machine.  The  hideousness 
and  horror  of  modern  warfare  is  also  far  removed  from  the 
pageantry  and  splendor  of  warfare  in  the  Middle  Ages — it  is 
vastly  different  also  from  the  comparatively  picturesque  war¬ 
fare  of  the  Napoleonic  epoch.  War  pictures  of  to-day  have 
no  roots  in  the  past;  the  pictorial  recorder  of  modern  warfare 
has  had  no  sign-posts  to  guide  him. 

One  recalls  the  decorative  and  gorgeous  battle  pictures  of 
Paolo  Uccello  and  Raphael’s  “Battle  of  Constantine.” 
Leonardo  da  Vinci  made  many  designs  for  fortifications  and 
various  implements  of  war;  those  familiar  with  Ravaisson- 
Mollien’s  folio  volumes  of  facsimiles  of  Leonardo’s  manu¬ 
scripts  will  remember  that  he  even  made  a  design  for  an 
aeroplane.  Leonardo  always  maintained  that  he  had  attained 
greater  excellence  as  an  engineer  than  as  a  painter  or  a 
sculptor.  Diirer  was  another  artist  greatly  interested  in  mili- 

*Copyright,  1018.  by  A.  E.  Gallatin. 


[1] 


tary  matters;  a  work  by  him  printed  in  Nuremberg  in  1527 
contains  many  engravings  depicting  fortifications,  cannon 
and  various  military  obj  ects  which  he  drew  on  the  wood. 

The  paintings  of  Gerard,  Gros  and  Charlet  are  simply 
glorifications  of  Napoleon;  as  transcripts  of  actual  war¬ 
fare  they  are  almost  valueless.  The  horrors  of  war  were 
truthfully  set  down  by  Goya  and  by  Callot.  The  Russian 
Vereschtschagin  also  completely  stripped  warfare  of  its 
glamor.  Afterwards  in  France  came  the  paintings  of  the 
Franco-Prussian  war  by  Detaille  and  Neuville.  Of  the 
studio-painted,  and  as  regards  detail,  miniature-like,  paint¬ 
ings  of  Meissonier,  one  agrees  with  Courbet  that  everything 
is  of  iron  except  the  cuirasses.1 

In  the  olden  times,  the  sphere  of  action  in  which  the  artist, 
when  his  country  was  at  war,  could  make  use  of  his  talents 
was  extremely  limited ;  to-day  the  situation  is  vastly  different. 
As  one  writer  has  said:  “Art  never  has  had  a  more  inspiring 
opportunity,  and  artists  are  gaining  constantly  in  apprecia¬ 
tion  of  the  service  possible  for  them  to  render.”  Another  has 
written:  “Never  since  the  Middle  Ages,  when  the  church 
taught  its  lessons  by  means  of  pictures  to  people  who  could 
not  read  the  written  word,  has  art  been  called  upon  to  serve 
in  so  many  ways.” 


II 

American  painters  and  illustrators,  as  well  as  those  practicing 
the  allied  arts,  it  is  gratifying  to  know,  came  forward  with  an 
eagerness  to  serve  the  country  that  was  not  excelled  by  any 
other  group.  The  services  that  they  were  able  to  render  were 
manifold,  as  I  shall  endeavor  to  suggest. 

1  Vide  P.  G.  Konody’s  “Modern  War  Paintings  by  C.  R.  W.  Nevinson”  (London: 
Grant  Richards). 

[2] 


For  Humanity 


In  the  first  place,  many  artists  are  needed  for  the  designing 
of  the  innumerable  posters  required  by  the  Government  for 
Liberty  Loan,  War  Savings  Stamp,  Red  Cross  and  other 
drives,  besides  at  first  for  recruiting  purposes  and  afterwards 
to  urge  the  conservation  of  food  and  coal,  to  speed  up  ship¬ 
building  and  for  many  other  uses. 

If  never  before  has  the  poster  artist  enjoyed  such  a  golden 
opportunity,  this  is  equally  true  of  the  cartoonist.  He  wields 
a  most  powerf  ul  weapon.  In  his  hand,  it  can  be  truly  said,  as 
of  the  author,  that  “the  pen  is  mightier  than  the  sword.” 

Still  another  way  in  which  the  artist  may  employ  his  talents 
is  in  the  painting  of  landscape  targets,  for  use  in  the  artillery 
schools. 

Other  artists,  like  Joseph  Pennell,  have  recorded  America’s 
industrial  activities,  and  eight  illustrators  are  now  in  France 
making  official  records  of  all  the  various  activities  of  our 
troops  in  France. 

Architects  have  been  working  on  government  housing  and 
industrial  problems,  including  the  designing  of  portable 
houses  for  overseas  service,  this  work  being  executed  through 
the  Bureau  of  Industrial  Housing  and  Transportation  of  the 
Department  of  Labor. 

The  camouflage  unit  of  the  Corps  of  Engineers  has  at¬ 
tracted  many  artists  and  sculptors,  and  a  number  of  artists 
have  also  taken  up  naval  camouflage.  There  are  several  other 
fields  open  to  the  sculptor,  as  is  noted  on  one  of  the  following 
pages. 

The  services  of  artists,  sculptors  and  architects,  as  well  as 
those  engaged  in  the  kindred  arts,  are  in  constant  demand  by 
committees  appointed  to  arrange  for  special  decorations. 
The  decorations  on  Fifth  Avenue  for  the  Fourth  Liberty 
Loan  were  extremely  effective  and  beautiful.  The  hundred 

[3] 


or  more  floats  and  other  decorative  effects  used  in  the  1918 
Independence  Day  Pageant-Parade  called  into  service  the 
special  knowledge  possessed  by  all  professions  practicing  the 
arts  and  crafts.  Special  decorations  are  frequently  employed 
in  New  York  on  the  occasion  of  visits  from  foreign  missions; 
those  erected  in  honor  of  Viviani,  Joffre  and  Balfour  were 
very  handsome. 

In  England  at  several  of  the  Red  Cross  sales  blank  can¬ 
vases  have  been  put  up  at  auction,  the  contributions  of 
famous  portrait  painters,  who  undertake  to  paint  any  por¬ 
trait  on  their  canvas  requested  by  the  highest  bidder.  In 
April,  1918,  Sargent  contributed  a  canvas  of  this  description, 
he  having  already  early  in  the  war  sent  in  one  which  was 
purchased  by  the  late  Sir  Hugh  Lane,  the  well-known  col¬ 
lector  who  perished  on  the  Lusitania.  On  this  canvas  was 
painted  one  of  the  two  famous  portraits  of  President  Wilson, 
Sir  Hugh  Lane  paying  £10,000  for  the  picture  and  present¬ 
ing  it  to  the  National  Gallery  of  Dublin. '  In  Philadelphia 
during  the  Fourth  Liberty  Loan  campaign  many  well-known 
artists  painted  or  drew  the  portraits  of  people  who  subscribed 
for  a  large  number  of  bonds.  Robert  W.  Chanler  has  painted 
a  mural  decoration,  “The  Landing  of  Columbus,”  for  the 
Naval  Training  Station  at  Pelham  Bay,  New  York,  and 
another  for  General  Pershing’s  headquarters.  Robert  Reid 
painted  a  splendid  poster  for  the  navy,  which  was  shown 
in  Chicago.2 


1  Vide  A.  E.  Gallatin’s  “American  Ar¬ 
tists  and  the  War,”  Valentine’s  Man¬ 
ual,  1918  (New  York:  H.  C.  Brown). 

A.  E.  Gallatin’s  “Suggestions  for  Ar¬ 
tists  Desiring  to  Apply  Their  Knowl¬ 


edge  to  War  Work”  (New  York:  The 
Mayor’s  Committee  on  National  De¬ 
fense). 

Duncan  Phillips’  “Art  and  the  War,” 
( American  Magazine  of  Art,  June,  1918). 


[4] 


G.  SPENCER  PRYSE 
Belgium,  1914 


Ill 


In  the  Spring  of  1917  a  group  of  American  illustrators  went 
to  Washington  and  offered  their  services  gratis  to  the  Gov¬ 
ernment.  At  that  time  purely  commercial  artists,  as  well  as 
firms  of  lithographers,  were  getting  the  orders  for  the  innu¬ 
merable  posters  required  by  the  Government.  At  the  request 
of  Charles  Dana  Gibson  and  his  associates,  George  Creel, 
Chairman  of  the  Committee  on  Public  Information,  estab¬ 
lished  a  Division  of  Pictorial  Publicity. 

Owing  to  the  efforts  of  this  Division,  our  posters,  which 
in  the  beginning  of  the  war  were  for  the  most  part  very  crude 
and  inartistic,  and  consequently  made  but  a  small  appeal, 
have  steadily  improved.  Numerous  splendid  posters  are  now 
being  designed  by  the  artists  cooperating  with  the  Division 
of  Pictorial  Publicity.  These  artists  receive  no  compensation.3 

The  function  of  the  Division  of  Pictorial  Publicity  consists 
in  supplying  the  various  departments,  bureaus  and  commis¬ 
sions  of  the  United  States  Government  with  every  form  of 
pictorial  publicity  that  they  desire.  Membership  in  it  is  un¬ 
limited;  any  individual  who  expresses  a  desire  to  carry  out 
such  pictorial  work  as  is  required  by  the  Government  auto¬ 
matically  becomes  a  member.  The  associate  chairmen  and 
executive  committee  meet  every  Thursday  afternoon  at  the 
headquarters  of  the  Division,  200  Fifth  Avenue.  After  these 
meetings  a  dinner  is  held  at  the  Salmagundi  Club,  which  all 
members  are  invited  to  attend.  These  dinners  are  addressed 
by  various  government  and  other  officials,  who  inform  the 
artists  regarding  the  Government’s  requirements.  The  Divi¬ 
sion  to  date  has  supplied  forty-eight  various  organizations 
with  posters  or  other  illustrative  matter. 

3  Vide  “Our  Fighting  Posters,”  by  “The  Story  of  the  War  Posters,” 
Julian  Street  ( McClure’s  Magazine,  by  H.  A.  McDonald  ( Sea  Power,  Au- 
July,  1918).  gust,  1918). 

[5] 


Through  the  Division  there  have  been  issued  many  excel¬ 
lent  posters,  including  designs  by  Henry  Raleigh,  Albert 
Sterner,  Wallace  Morgan,  W.  T.  Benda,  Adolph  Treidler, 
Charles  Livingston  Bull,  E.  H.  Blashfield,  F.  G.  Cooper, 
Joseph  Pennell,  C.  B.  Falls,  Henry  Reuterdahl  and  Edward 
Penfield.  The  posters  designed  for  the  Shipping  Board  have 
been  particularly  good,  especially  those  by  George  Wright, 
Walter  Taylor  and  Jonas  Lie.  It  is  interesting  to  note  that 
Brangwyn  and  Raemaekers  have  made  posters  for  the 
American  navy. 

The  Division  of  Pictorial  Publicity  chose  eight  illustrators 
to  depict  our  activities  in  France.  These  men  were  commis¬ 
sioned  cajitains  in  the  Engineers’  Reserve  Corps  of  the 
army,  and  their  drawings,  which  are  now  arriving  in  this 
country,  were  shown  in  the  Corcoran  Gallery  in  Washington 
the  second  two  weeks  in  November,  1918,  before  being  put 
on  view  in  the  present  Allied  War  Salon.  The  artists  who 
made  them  are  Captains  Ernest  Peixotto,  William  J.  Ayl- 
ward,  Harry  Townsend,  Wallace  Morgan,  George  Harding, 
Walter  J.  Duncan,  Harvey  Dunn  and  J.  Andre  Smith. 
These  sketches  possess  great  interest  and  record,  as  photo¬ 
graphs  cannot,  the  spirit  of  our  men.4 

4  Vide  “Making  Posters  Fight,”  by  Montross  J.  Moses  ( The  Bookman,  July,  1918). 


[6] 


JOSEPH  PENNELL 
Ready  to  Start 


UNITED  STATES  GOVERNMENT  COMMITTEE  ON  PUBLIC  INFORMATION 


DIVISION  OF  PICTORIAL  PUBLICITY 

Charles  Dana  Gibson,  Chairman 

F.  D.  Casey,  Vice-Chairman  and  Secretary 


George  Creel,  Chairman 
The  Secretary  of  State 

associate 

Herbert  Adams 
Paul  W.  Bartlett 

E.  H.  Blashfield 
Ralph  Clarkson 
A.  E.  Gallatin 
Cass  Gilbert 
Oliver  D.  Grover 

EXECUTIVE 

F.  G.  Cooper 
F.  E.  Dayton 
Israel  Doskow 
C.  B.  Falls 
Ray  Greenleaf 

N.  J.  Pousette-Dart 
W.  A.  Rogers 


The  Secretary  of  War 
The  Secretary  of  the  Navy 

chairmen 

Francis  Jones 
Arthur  F.  Matthews 
L.  C.  Mullgardt 
Joseph  Pennell 
Edmond  Tarbell 
Douglas  Volk 
J.  Alden  Weir 

COMMITTEE 

J.  E.  Sheridan 
Frank  J.  Sheridan,  Jr. 

H.  Seott  Train 
H.  T.  Webster 
H.  D.  Welsh 
Walter  Whitehead 
J.  T.  Willing 


IV 

The  cartoonist  has  been  an  important  agency  for  moulding 
public  opinion ;  in  America,  W.  A.  Rogers  and  Charles  Dana 
Gibson  have  played  an  important  part  in  putting  the  real 
issue  of  the  war  before  the  public  in  a  striking  and  telling 
manner. 

“The  cartoons  of  Louis  Raemaekers,”  Theodore  Roosevelt 
has  written  in  an  introduction  to  a  volume  of  his  drawings, 
“constitute  the  most  powerful  of  the  honorable  contributions 
made  by  neutrals  to  the  cause  of  civilization  in  the  world  war.” 
Another  has  written  of  him  as  follows:  “He,  more  than  any 
other  individual,  has  made  intensely  clear  to  the  people  the 

[7] 


single  issue  upon  which  the  war  is  joined.  More  than  car¬ 
toonist,  he  is  teacher  and  preacher,  with  a  vision,  faith,  and 

intensity  of  a  St.  Francis,  a  Luther,  or  a  Joan  of  Arc . 

The  pencil  in  his  hands  becomes  an  avenging  sword,  because 
by  it  millions  of  people  have  been  aroused  to  a  clear-cut 
realization  of  the  fact  that  the  issue  of  the  war  is  no  less  than 
Slavery  and  Autocracy  versus  Freedom  and  Democracy. 
....  No  oration,  no  literature,  no  art,  has  brought  the  real 
meaning  of  the  war  home  so  convincingly  as  these  cartoons.” 

The  lithographs  and  drawings  of  Steinlen  and  Forain  are 
valuable  as  documents,  besides  being  works  of  art  of  a  very 
high  order.  No  one  can  resist  the  human  appeal  in  Steinlen’s 
drawings;  Forain  is  the  greatest  cartoonist,  if  we  judge  his 
drawings  by  aesthetic  standards,  since  Daumier,  from  whom 
his  art  is  descended.  It  is  to  such  pictures  as  these  and  the 
cartoons  of  Raemaekers  that  the  historian  of  the  future, 
overwhelmed  with  conflicting  material,  will  turn  for  guidance. 
The  best  history  of  the  Napoleonic  wars  are  the  contem¬ 
porary  broadsides. 

“International  Cartoons  of  the  War,”  selected,  with  an 
introduction  by  H.  Pearl  Adam,  is  a  very  interesting  volume 
of  reproductions  (New  York:  E.  P.  Dutton  &  Co.).  Car¬ 
toons  from  English,  New  Zealand,  Italian,  Argentine,  Amer¬ 
ican,  Japanese,  Dutch,  Russian,  Polish,  French  and  German 
papers  are  included. 


Y 

Landscape,  or  designation  targets,  are  used  for  class-room 
instruction.  These  are  large  landscapes  depicting  typical 
French  rural  scenery  and  are  used  in  our  military  schools  to 
train  the  embryo  artillery  officer  to  locate  quickly  a  given 

[8.] 


American  Squadron  in  British  Waters 


point  in  a  landscape.  The  most  satisfactory  ones  are  painted 
in  clear  and  bright  colors.  The  sine  qua  non  is  correct  per¬ 
spective.  The  sizes  vary  from  three  by  six  feet  to  five  by 
twelve  feet.  These  landscapes  are  used  to  visualize  the 
country  in  which  the  men  are  to  fight,  for  panoramic  sketch¬ 
ing,  for  working  out  problems  of  offense  and  defense,  for 
target  designation  according  to  the  clock-face  method  in 
machine  gun,  artillery  and  rifle  practice,  and  for  other 
purposes. 

Landscape  targets  have  long  been  used  by  the  armies  of 
Europe  and  in  the  training  of  the  recruit  they  are  of  the 
utmost  value.5 


VI 

The  camouflage  unit  forms  a  part  of  the  Corps  of  Engi¬ 
neers  (40th).  It  is  a  military  organization  composed  of 
artists,  architects,  carpenters,  ornamental  iron  workers,  tin¬ 
smiths,  plasterers,  photographers,  stage  carpenters  and  prop¬ 
erty  men.  The  work  in  general  deals  with  the  concealment 
of  gun  emplacements,  trenches  and  sheds  of  military  value; 
the  screening  of  roads  and  the  manufacture  of  materials  for 
this  purpose;  the  painting  of  roofs  and  large  areas  of  canvas 
for  the  covering  of  ammunition  storage  and  the  like;  the 
making  of  various  devices  and  clothing  for  the  concealment 
of  observers  and  snipers  and  occasionally  the  painting  of  a 
scenic  drop. 

Modern  camouflage  is  based  upon  the  studies  of  Abbott 
Thayer  and  Louis  Fuertes,  two  painters,  as  well  as  those  of 
Dr.  Chapman  of  the  American  Museum  of  Natural  History, 
who  have  made  a  study  of  bird  life  and  protective  coloration. 


‘  Vide  “The  Value  of  Landscape  Targets,”  by  Captain  J.  R.  Cornelius  ( Scrib¬ 
ner’s  Magazine,  October,  1918). 

[9] 


Some  familiar  examples  of  nature’s  camouflage  are  the  frog, 
spotted  like  a  tree;  the  polar  bear,  with  a  coat  of  white  fur, 
which  blends  with  his  surroundings  of  ice  and  snow,  and  the 
tiger,  striped  in  such  a  way  as  to  make  him  invisible  in  a 
bamboo  forest. 

Marine  camouflage,  owing  to  the  development  of  the  sub¬ 
marine,  has  become  an  important  science.  In  creating  her 
famous  fleet  of  dummy  battleships,  England’s  naval  camou- 
fleurs  certainly  showed  great  ingenuity.  In  this  country 
marine  camouflage  is  done  under  the  direction  of  the  Navy 
Department.  The  work  is  executed  by  the  United  States 
Shipping  Board,  Emergency  Fleet  Corporation’s  Depart¬ 
ment  of  Camouflage.  In  each  district  is  stationed  a  district 
camoufleur,  with  a  corps  of  trained  assistants.  “Baffle”  paint¬ 
ing  has  taken  the  place  of  attempts  to  render  vessels  invisi¬ 
ble.  This  distorts  the  outlines  of  the  ship  and  misleads  the 
submarine  as  to  the  craft’s  size,  character,  and  her  course.6 

VII 

As  has  already  been  noted,  many  sculptors  have  joined  the 
camouflage  unit  of  the  Engineer  Corps.  Others  are  design¬ 
ing  memorials.  Paul  Manship  has  modeled  a  Jeanne  d’Arc 
medal  and  others,  which  are  sold  for  charities,  entitled  “Kul- 
tur,”  “French  Hero’s  Fund”  and  “Art  War  Relief.”  Man- 
ship  in  1918  also  cooperated  on  the  new  Congressional  Medal 
of  Honor  for  the  navy  and  on  the  Distinguished  Service 
Medal  and  Cross  for  the  navy.  Earlier  designs  were  made 
bv  Captain  Andre  Smith  and  Captain  Aymar  Embury,  2nd, 
being  modeled  by  Private  Gaetano  Cecere. 

6  V'ide  Captain  Aymar  Embury,  2nd’s  Captain  J.  Andre  Smith’s  “Notes 
“Nature’s  Camouflage  and  Man’s,”  with  on  Camouflage,”  illustrated  ( Architec - 
colored  plates  by  Charles  Livingston  tnral  Record,  November,  1917). 

Hull  {New  Country  Life,  June,  1918). 

[  io] 


PAUL  DOUGHERTY 
Submarine  Tragedy 


Some  very  fine  portraits  of  military  and  naval  officers  have 
also  been  made  by  our  sculptors,  as  well  as  other  works  con¬ 
nected  in  some  way  with  the  war.  Mahonri  Young,  Malvina 
Hoffman,  Theodore  Spicer- Simpson,  Hermon  A.  McNeil, 
Isador  Konti  and  Herbert  Adams  are  among  these  sculptors. 

An  English  artist,  Captain  Derwent  Wood,  has  con¬ 
structed  masks  to  cover  facial  injuries.  Professor  Henry 
Tonks  has  also  worked  with  the  plastic  surgeon.  A  Boston 
sculptress,  Mrs.  Anna  Coleman  Ladd,  reading  reports  of 
Captain  Wood’s  studies,  went  to  Paris,  where  she  and  her 
assistants  are  now  hard  at  work  making  new  faces  for  soldiers 
whose  faces  have  been  partially  shot  away.7 

VIII 

America’s  industrial  activities  and  military  and  naval  prep¬ 
arations  have  been  faithfully  recorded  in  a  series  of  about 
one  hundred  large  lithographs  by  Joseph  Pennell — a  succes¬ 
sion  of  views  in  munition  works,  shipyards,  navy  yards,  coal 
mines  and  factories.  A  number  of  these  lithographs  have  been 
reproduced  in  book  form.8 

Samuel  J.  Woolf  spent  some  time  with  the  American 
armies  in  France,  at  the  front,  and  has  brought  back  with 
him  many  sketches  from  which  he  has  made  paintings. 
Among  his  drawings  are  portraits  of  several  of  the  American 
generals. 

George  Bellows  has  executed  a  set  of  lithographs  of  Ger¬ 
man  atrocities  in  Belgium  which  are  very  dramatic  and,  since 
they  are  based  on  statements  contained  in  Lord  Bryce’s  Re¬ 
port,  are  convincing  and  unforgetable  indictments  of  the 

7  Vide  “New  Faces  for  Mutilated  Soldiers,”  by  Grace  S.  Harper  {Red  Cross 
Magazine,  November,  1918). 

*  Vide  Joseph  Pennell’s  “Pictures  of  War  Work  in  America”  (Philadelphia: 
J.  B.  I.ippincott  Co.). 

[ii] 


Hun.  From  them  he  has  painted  several  pictures,  also  of 
great  force;  that  of  Edith  Cavell  being  taken  from  her  cell 
to  be  murdered  is  a  very  fine  composition,  almost  suggestive 
of  Rembrandt  in  its  play  of  light  and  shade. 

Childe  Hassam,  both  in  paintings  and  in  lithographs,  has 
given  us  many  beautiful  glimpses  of  Fifth  Avenue  gaily 
decorated  with  flags;  Lieutenant  Henry  Reuterdahl,  some 
colorful  naval  pictures;  Hugh  Ferris,  Herbert  Pullinger, 
John  C.  Johansen  and  Jonas  Lie,  views  of  shipyards.  Edwin 
H.  Blashfield’s  beautifully  conceived  and  executed  canvas 
entitled  “Carry  On,”  known  also  through  a  lithograph,  has 
been  purchased  by  the  Metropolitan  Museum  of  Art. 
George  Luks  has  painted  some  striking  pictures  of  incidents 
in  this  country  connected  with  the  war.  Most  of  the  leading 
sculptors  have  also  been  nobly  inspired  by  America’s  part 
in  the  war. 

This  merely  indicates  what  the  American  artists  have  been 
doing,  and  in  what  a  patriotic  manner  the  war  has  reacted 
upon  their  art. 


IX 

Under  the  direction  of  the  Liberty  Loan  Committee,  New 
York  during  October,  1918,  had  the  opportunity  of  viewing 
one  of  the  greatest  and  most  inspiring  exhibitions  of  pictures 
ever  held  in  the  Metropolis.  Fifth  Avenue,  the  fairest  avenue 
in  the  world,  was  the  gallery,  about  a  hundred  windows  along 
the  thoroughfare  being  the  settings  for  the  paintings.  As 
one  observer  wrote:  “In  the  windows  of  the  shops  the  pic¬ 
tures  and  statues  were  hard  put  to  it  to  hold  their  own  in 
interest  against  the  bannered  beauty  of  the  street  itself,  but 
they  did.”  9 


9  Vide  Elisabeth  L.  Cary’s  “Avenue  of  the  Allies”  (New  York  Times,  Oct.  6, 1918). 

[12] 


CHILDE  HASSAM 


Many  of  the  foremost  artists  in  the  country  painted  these 
patriotic  pictures,  including  Gari  Melchers,  Edwin  Blash- 
field,  Augustus  Vincent  Tack,  F.  W.  Benson,  George  Bel¬ 
lows,  Jonas  Lie,  Gifford  Beal,  George  Luks  and  Paul 
Dougherty,  to  mention  but  a  very  few.  Herbert  Adams  and 
Mahonri  Young  were  among  the  sculptors. 

To  quote  from  the  preliminary  announcement  of  the  exhi¬ 
bition:  “In  the  early  Greek  days,  artists  showed  their  works 
in  public.  We  read  the  stories  of  competition  decided  by 
popular  vote,  of  the  birds  who  were  deceived  and  of  the  popu¬ 
lace  who  were  deceived  by  the  painted  veil  of  Apelles.  In 
the  later  Italian  days  paintings  were  exhibited  on  the  Rialto, 
where  the  people  became  familiar  with  them,  grew  to  know 
and  understand  them.  Something  of  this  is  possible  here. 
Fifth  Avenue  is  our  Rialto.” 

An  interesting  feature  of  this  display  on  the  “Avenue  of 
the  Allies”  was  that  each  day  an  artist  of  prominence  painted 
a  large  picture  in  honor  of  one  of  our  numerous  allies  in 
front  of  the  Public  Library.  Each  day  of  the  Drive,  one  of 
the  flags  of  the  allies  was  consecrated  on  the  Altar  of  Lib¬ 
erty,  a  beautiful  stiucture  designed  by  Thomas  Hastings 
and  erected  in  Madison  Square. 

X 

The  Committee  on  Arts  and  Decoration  of  the  Mayor’s  Com¬ 
mittee  on  National  Defense  for  the  City  of  New  York  was 
organized  for  the  purpose  of  developing  the  field  of  art  in 
connection  with  the  war,  where  the  services  of  artists,  archi¬ 
tects,  sculptors  and  those  practising  the  allied  arts  are  em¬ 
ployed. 

A  Bureau  of  Information  has  been  established,  in  the  Hall 

[13] 


Many  of  the  foremost  artists  in  the  country  painted  these 
patriotic  pictures,  including  Gari  Melchers,  Edwin  Slash- 
field,  Augustus  Vincent  Tack,  F.  W.  Benson,  George  Bel¬ 
lows,  Jonas  Lie,  Gifford  Beal,  George  Luks  and  Paul 
Dougherty,  to  mention  but  a  very  few.  Herbert  Adams  and 
Mahonri  Young  were  among  the  sculptors. 

To  quote  from  the  preliminary  announcement  of  the  exhi¬ 
bition:  “In  the  early  Greek  days,  artists  showed  their  works 
in  public.  We  read  the  stories  of  competition  decided  by 
popular  vote,  of  the  birds  who  were  deceived  and  of  the  popu¬ 
lace  who  were  deceived  by  the  painted  veil  of  Apelles.  In 
the  later  Italian  days  paintings  were  exhibited  on  the  Rialto, 
where  the  people  became  familiar  with  them,  grew  to  know 
and  understand  them.  Something  of  this  is  possible  here. 
Fifth  Avenue  is  our  Rialto.” 

An  interesting  feature  of  this  display  on  the  “Avenue  of 
the  Allies”  was  that  each  day  an  artist  of  prominence  painted 
a  large  picture  in  honor  of  one  of  our  numerous  allies  in 
front  of  the  Public  Library.  Each  day  of  the  Drive,  one  of 
the  flags  of  the  allies  was  consecrated  on  the  Altar  of  Lib¬ 
erty,  a  beautiful  structure  designed  by  Thomas  Hastings 
and  erected  in  Madison  Square. 

X 

The  Committee  on  Arts  and  Decoration  of  the  Mayor’s  Com¬ 
mittee  on  National  Defense  for  the  City  of  New  York  was 
organized  for  the  purpose  of  developing  the  field  of  art  in 
connection  with  the  war,  where  the  services  of  artists,  archi¬ 
tects,  sculptors  and  those  practising  the  allied  arts  are  em¬ 
ployed. 

A  Bureau  of  Information  has  been  established,  in  the  Hall 

[13] 


of  Records,  to  advise  and  direct  those  seeking  to  apply  their 
talents  to  work  connected  with  the  war.  Here  may  be  ob¬ 
tained  accurate  and  official  information  concerning  the  de¬ 
signing  of  pictorial  placards  for  government  purposes,  car¬ 
toons,  landscape  targets,  pictorial  records  of  America’s  war 
activities,  military  and  naval  camouflage,  decorations  for 
Liberty  Loan  and  other  purposes,  as  well  as  where  sculptors 
and  architects  are  needed.  A  leaflet  containing  suggestions 
and  information  has  been  prepared,  for  gratuitous  distri¬ 
bution. 

A  Division  of  Exhibitions  has  been  formed  to  further  the 
cause  of  pictorial  propaganda.  The  British  government 
lithographs  have  thrice  been  shown  under  the  auspices  of  this 
committee.  A  collection  of  125  colored  facsimiles  of  cartoons 
by  Raemaekers  is  now  being  shown  in  the  various  canton¬ 
ments,  with  the  cooperation  of  the  American  Federation  of 
Arts,  which  has  routed  many  ambulant  exhibitions  of  war 
pictures. 

The  Committee  on  Arts  and  Decoration  assisted  in  the 
artistic  censoring  of  the  historic  floats,  banners  and  costumes 
appearing  in  the  great  Independence  Day  Pageant-Parade 
held  in  New  York  in  1918.  The  Advisory  Art  Committee  of 
the  Liberty  Loan  Committee  has  asked  for  the  closest  co¬ 
operation  between  the  two  committees.  These  are  but  two 
examples  of  the  wide  and  useful  scope  of  this  committee  in 
coordinating  art  work  in  so  far  as  it  affects  the  community. 


GEORGE  BELLOWS 
Murder  of  Edith  Cavell 


THE  MAYOR  S  COMMITTEE  ON  NATIONAL  DEFENSE 


COMMITTEE  ON  ARTS  AND  DECORATION 

Albert  Eugene  Gallatin,  Chairman 
Lloyd  Warren,  Vice-Chairman 

EXECUTIVE  COMMITTEE 


Herbert  Adams 
Paul  W.  Bartlett 
Nicholas  Murray  Butler 
Robert  W.  de  Forest 

GENERAL  COMMITTEE 


Robert  Abbe 
John  Quincy  Adams 
Charles  B.  Alexander 
S.  Reading  Bertron 
Bryson  Burroughs 
F.  I).  Casey 
William  A.  Clark 
Robert  W.  Chanler 
Francis  W.  Crowninshield 
R.  Fulton  Cutting 
Guy  Pene  du  Bois 
Charles  M.  Gay 
William  J.  Glackens 
Jules  Guerin 
Childe  Hassam 
William  Warner  Hoppin 
Ernest  Iselin 


Charles  Dana  Gibson 
Thomas  Hastings 
Archer  M.  Huntington 
Clarence  H.  Mackav 

Arthur  Curtiss  James 
Roland  F.  Knoedler 
George  F.  Kunz 
Ernest  Lawson 
Hermon  A.  MacNeil 
H.  Van  Buren  Magonigle 
Paul  Manship 
Howard  Mansfield 
W.  H.  de  B.  Nelson 
Duncan  Phillips 
William  Jay  Schieffelin 
Arthur  H.  Scribner 
Henry  Renwick  Sedgwick 
John  Sloane 
Charles  H.  Sherrill 
Joseph  E.  Stevens 
Augustus  V.  Tack 


XI 


The  Art  War  Relief  was  organized  in  December,  1917,  to 
bring  together  the  art  organizations  and  artists.  Their  head¬ 
quarters  are  at  661  Fifth  Avenue.  Mrs.  Ripley  Hitchcock 
is  the  Chairman  and  Mrs.  John  Henry  Hammond  is  the 
Vice-Chairman.  The  Art  War  Relief  organized  auxiliary 
282  of  the  New  York  County  Chapter  of  the  American  Red 
Cross.  The  Painters’  Committee  of  the  Art  War  Relief, 

[15] 


with  the  cooperation  of  the  Ver  Meer  Studios  and  the  War 
Service  Committee  of  the  Salmagundi  Club  has  supplied  299 
landscape  targets  to  twenty-seven  cantonments  and  three 
National  Guard  Armories.  The  Art  War  Relief  is  also  in¬ 
terested  in  many  other  activities,  including  the  distribution 
of  clothing  to  refugees,  the  making  of  hospital  pillows,  ob¬ 
taining  posters,  and  war  service  classes  to  train  aides  to  teach 
disabled  soldiers  and  sailors  various  handicrafts. 

XII 

The  French,  too,  as  one  might  have  expected,  have  produced 
a  very  large  number  of  pictorial  records  of  the  war.  Ex¬ 
tremely  interesting  are  the  paintings  of  actual  engagements 
in  aerial  combat  by  Lieutenant  Henri  Farre.  These  paint¬ 
ings,  which  have  been  shown  in  many  parts  of  the  United 
States,  besides  being  valuable  as  records,  because  technically 
accurate,  are  as  well  most  graphic  and  very  beautifully 
painted :  they  are  true  works  of  art. 

The  lithographs  of  Steinlen  and  Forain  are  extremely  fine. 
These  two  men,  France’s  greatest  living  draughtsmen,  have 
made  a  long  series  of  splendid  drawings,  the  former  remark¬ 
able  for  their  beauty  of  drawing,  tenderness  and  sympathy, 
the  latter  for  their  telling  strength  and  the  extraordinary 
economy  of  means  displayed  in  their  draughtsmanship.  The 
drawings  by  Francois  Flameng,  Charles  Huard  and  Georges 
Scott,  all  official  artists,  together  with  drawings  which  have 
appeared  in  1/ Illustration  and  the  Steinlens  and  Forains 
form  a  most  valuable  history  of  the  war.  Lucien  Jonas’  litho¬ 
graphs  entitled  “The  Heroic  Soul  of  France,”  “are  distin¬ 
guished  by  an  ardor  of  patriotism  so  passionate  and  intense 
that  we  are  carried  out  of  ourselves  and  privileged  to  share 

[16] 


FORAIN 


o 


4'^V’. 

-  <£&■>  J.-  ■:  :■  ' 

■  -  •  •  v  • 


the  artist’s  glow  of  glory  and  emotion.”  10  The  poster  artists 
of  F ranee  have  also  more  than  risen  to  the  occasion  and  given 
us  innumerable  magnificent  designs.  Could  any  poster  be 
more  stirring  than  Abel  Faivre’s  “On  les  aura!”?  Such 
posters  and  lithographs  as  these,  it  has  been  truly  said,  “are 
an  intimate  expression  of  the  greatest  convulsion  in  the  his¬ 
tory  of  civilization.” 

A  collection  of  two  thousand  war  paintings  and  drawings 
by  French  soldier-artists,  the  largest  collection  ever  brought 
together,  are  now  being  shown  throughout  the  country  under 
the  auspices  of  the  French  Government  and  the  Committee 
on  Public  Information.  “All  of  these  records,”  the  catalogue 
of  the  exhibition  states,  “have  been  lived  and  come  from  eye¬ 
witnesses  of  the  greatest  drama  of  all  time . To  pos¬ 

terity  ....  they  will  prove  treasures  of  incalculable  value.” 

XIII 

The  British  Government  has  sent  to  this  country  a  set  of 
sixty-six  lithographs  by  many  of  her  most  gifted  artists  de¬ 
picting  Britain’s  efforts  and  ideals  in  the  Great  War.  This 
exhibition  is  being  shown  throughout  the  country,  in  several 
sets,  as  propaganda.  Eric  Kennington  has  a  series  of  six 
drawings  entitled  “Making  Soldiers,”  Frank  Brangwyn  six 
entitled  “Making  Sailors,”  George  Clausen  six  entitled 
“Making  Guns,”  Muirhead  Bone  six  entitled  “Building 
Ships,”  C.  R.  W.  Nevinson  six  entitled  “Making  Aircraft,” 
Charles  Pears  six  entitled  “Transport  by  Sea,”  A.  S.  Hart- 
rick  six  entitled  “Women’s  Work,”  William  Rothenstein  six 
entitled  “Work  on  the  Land”  and  Claude  Shepperson  six 
entitled  “Tending  the  Wounded.”  These  are  all  in  black  and 

10  Vide  Duncan  Phillips’  “The  Heroic  Lithographs”  ( American  Magazine  of 
Soul  of  France — Lucien  Jonas’  War  Art,  October,  1918). 

[17] 


white.  “Britain’s  Ideals”  have  been  depicted  by  Ernest  Jack- 
son,  Charles  Ricketts,  Frank  Brangwyn,  William  Rothen- 
stein,  William  Nicholson,  Maurice  Grieffenhagen,  George 
Clausen,  Edmund  Dulac,  G.  Mora,  Augustus  John,  Edward 
J.  Sullivan  and  Charles  Shannon.  These  lithographs,  with 
the  exception  of  that  by  John,  are  in  color.  Such  subjects 
have  been  chosen  as  “The  Triumph  of  Democracy,”  “The 
Freedom  of  the  Seas,”  “Italia  Redenta,”  “The  Restoration 
of  Alsace-Lorraine  to  France,”  “Poland,  a  Nation”  and 
“The  Re-birth  of  the  Arts.”  These  lithographs  are  all  re¬ 
markably  interesting  in  subject  matter  and  the  great  ma¬ 
jority  of  them  are  splendidly  drawn.  Those  by  Bone  and 
Nevinson  are  particularly  fine,  and  excellent,  too,  are  the 
drawings  of  Rothenstein,  Shannon  and  Dulac. 

Judged  both  as  pictorial  records  and  from  the  aesthetic 
side,  no  finer  drawings  have  been  produced  than  Muirhead 
Bone’s  many  sketches  and  studies  made  on  the  Western 
front.  These  drawings  have  been  superbly  reproduced  and 
issued  in  a  series  of  parts,  many  of  them  tinted  as  in  the 
originals.  They  are  authoritative  and  faithful  records,  made 
by  one  of  the  greatest  draughtsmen  of  recent  times.  General 
Haig  has  said  of  them:  “They  illustrate  admirably  the  daily 
life  of  the  troops  under  my  command.”  Bone  has  also  made 
some  splendid  drawings  entitled  “The  Work  of  the  Grand 
Fleet.”  An  interesting  record,  also,  is  Francis  Dodd’s  album 
of  portraits  of  the  admirals  of  the  British  Navy,  pencil  draw¬ 
ings  touched  with  water-color,  of  great  excellence.11 

The  British  Government  has  sent  a  number  of  other  artists 
to  the  front  to  make  pictorial  records,  including  William 

11  Vide  “The  Western  Front — Draw-  (New  York:  George  H.  Doran  Co.) 
ings  by  Muirhead  Bone”  (New  York:  and  “British  Artists  at  the  Front,”  in 
Doubleday,  Page  &  Co.);  “Admirals  of  four  parts  (London:  George  Newnes, 
the  British  Navy,”  by  Francis  Dodd  Ltd.). 

[  18] 


MUIRHEAD  BONE 


A  British  Shipyard  Scene  from  a  Big  Crane 


Orpen,  Paul  Nash,  John  Lavery  and  John  S.  Sargent. 
Ultimately  these  paintings  are  to  go  into  the  Imperial  War 
Museum  which  is  now  being  planned  for  London.  Many  of 
them  are  to  be  shown  at  the  Corcoran  Gallery  in  Washington 
during  January,  1919;  afterwards  they  are  to  be  brought  to 
New  York.  New  drawings  by  Bone,  Dodd,  a  painting  by 
Augustus  John,  dry-points  by  McBey  and  lithographs  by 
Pr  yse  will  also  be  included  in  this  exhibition.  Paintings  and 
drawings  by  Nevinson,  Nash,  Lavery  and  Kennington  have 
been  beautifully  reproduced  in  color  and  issued  in  album 
form.  Nevinson,  who  in  turn  has  come  under  the  influence 
of  Impressionism,  Cezanne,  and  Futurism,  although  this 
influence  is  not  now  very  pronounced,  is  probably  the  greatest 
artist  the  war  has  produced.  His  is  a  great  art,  horn  of  the 
war,  and  an  art  that  is  able  to  tell  you  exactly  what  war  is. 

A  special  number  of  the  London  Studio  is  to  be  devoted 
to  the  work  of  distinguished  British  artists  who  are  serving 
at  the  front.  It  will  be  very  fully  illustrated. 

The  lithographs  of  G.  Spencer  Pryse  are  also  among  the 
very  fine  things  produced  during  the  war,  as  are  those  by 
Frank  Brangwyn,  although,  unlike  Nevinson,  both  artists 
had  fully  developed  their  art  before  the  war.  The  Pryse 
lithographs  possess  a  lyrical  quality  and  a  greatness  of  con¬ 
ception  which  places  them  on  a  high  plane. 

In  lightly  touching  upon  the  war  pictures  which  have  been 
made  in  England,  one  must  certainly  not  neglect  to  mention 
the  humorous  and  very  racy  sketches  made  at  the  front  by 
Captain  Bruce  Bairnsfather.  “Old  Bill,”  “Alf”  and  “Bert” 
are  great  favorites  among  the  soldiers  at  the  front,  as  well  as 
among  the  people  at  home. 


XIV 


Many  of  the  most  beautiful  and  artistic  posters  produced 
during  the  war  have  come  from  Italy,  and  just  as  France 
has  had  Lieutenant  Farre  to  give  us  a  wonderful  record  of 
the  aerial  side  of  modern  warfare,  and  Great  Britain  Nevin- 
son,  so  Italy  has  had  Gianni  Caproni. 

‘‘Versatility  has  always  been  and  still  appears  to  be  a 
characteristic  of  all  Italian  geniuses.  Leonardo  was  the 
supreme  example  of  it.  Michael  Angelo  was  almost  his  equal 
in  versatility.  The  two  great  geniuses  of  contemporary  Italy 
are  nobly  living  up  to  the  standards  set  for  them  by  the  great 
fifteenth  and  sixteenth  century  Italians.  Gabriele  D’Annun¬ 
zio,  the  premier  poet  of  Europe,  is  an  aviator  of  the  first 
rank.  Gianni  Caproni,  the  world’s  master  spirit  of  the  air, 
is — by  the  opposite  token — an  etcher  and  mezzotinter  of  the 
first  order.  Though  only  thirty-two  years  of  age,  Caproni 
has  invented,  designed  and  constructed  nineteen  separate  and 
successful  types  of  aeroplane,  the  largest  of  which  has 
reached  the  stupendous  force  of  2,000  horsepower.  Notwith¬ 
standing  his  close  application  to  his  world-transforming  task, 
Caproni  has  also  remained  faithful  to  the  graphic  arts.”  12 

12  Vide  “Caproni,  Etcher  of  his  Creations”  ( Vanity  Fair,  August,  1918). 


[20] 


STEINLEN 


The  Return 


Catalogue 


United  States 

War  Drawings  Made  by  the  Official  Artists  of  the 
United  States  Army 


By  Captain  George  Harding 

1.  Behind  Montmirail  an  American 
division  passed  a  French  divi¬ 
sion,  en  route  to  reserve  posi¬ 
tions,  July  10th,  and  found  the 
woods  between  Montmirail  and 
Chateau-Thierry  filled  with 
American  troops  of  the  30th 
and  28th  divisions. 

2.  Through  a  shell-hole  at  Nesles; 
Chateau-Thierry  Sector. 

3.  Between  shells  at  Chateau- 
Thierry. 

4.  A  dispatch  motorcycle,  near 
Vienne  le  Chateau;  Ste.  Mene- 
hould  Sector. 

5.  Maj.  R.  M.  Smith,  Ballois  Farm, 
July  11,  1918;  near  Nesee. 

6.  Morning  mess  at  Beaumont ; 
Toul  Sector. 

7.  American  wounded  making  their 
way  to  the  First-Aid  station  in 
a  village  on  the  Marne. 

8.  American  troops  entering  a  vil¬ 
lage  in  pursuit  of  the  enemy 
during  the  advance  across  the 
Marne,  July  13,  1918. 

9.  American  artillery  and  machine 
guns  of  3d  Division  passing 
through  a  village  on  the  Marne, 
afternoon,  July  24,  1918.  The 
road  was  filled  with  troops  and 
transport  for  days. 

10.  Montmirail  on  the  Chateau- 
Thierry  road.  Refugees  pass¬ 
ing  American  troops  going  to 
the  front. 

11.  American  ration  train  head¬ 
quarters  in  a  farm  yard;  vicin¬ 
ity  Chateau-Thierry. 


12.  An  American-French  conference 
in  a  wine  cellar ;  Chateau- 
Thierry. 

By  Captain  J.  Andre  Smith 

13.  f‘The  Church  at  Reherrey.” 

14.  The  hospital  at  Savenay;  this 
shows  the  back  of  the  building, 
which  was  originally  a  school- 
house. 

15.  Regimental  headquarters,  near 
Belleau  Woods,  located  in  the 
farm  house  known  as  “Maison 
Blanche.” 

.16.  A  motor  transport  train  con¬ 
cealed  or  camouflaged  with  tree 
branches  to  prevent  discovery 
by  enemy  planes. 

17.  Harlequin  freighters  at  St. 
Nazaire. 

18.  A  regiment  stops  for  mess  at 
Pagny-sur-Meuse. 

19.  A  square  in  Neufmaisons. 

20.  In  Belleau  Woods;  showing  the 
thickness  of  the  tree  growth 
and  the  nature  of  the  ground 
over  which  our  men  fought. 

21.  Building  barges  at  St.  Nazaire. 
In  the  background  are  the 
buildings  of  the  American  loco¬ 
motive  shops  and  in  the  distance 
and  to  the  right  are  the  cranes 
on  the  St.  Nazaire  Basin. 

22.  An  advance  dressing  station  on 
the  trail  to  Belleau  woods. 

23.  Langres. 

24.  On  the  deck  of  a  freighter  at 
St.  Nazaire. 

25.  The  saddler’s  room  in  the  mon¬ 
astery  at  Rangeval. 


[23] 


26.  Nantes;  a  river  view. 

27.  The  river  front  at  Saumur;  a 
view  of  the  city  showing  the 
Chateau. 

28.  Reherrey  and  the  road  to  Bac¬ 
carat;  a  typical  example  of  a 
billet  village  with  its  low  houses 
set  back  from  the  road  and  the 
scattered  confusion  of  wagons 
and  mules. 

29.  The  Valley  of  the  Marne.  It 
was  not  many  miles  above  this 
point  that  the  Germans  were 
forced  back  in  the  second  Bat¬ 
tle  of  the  Marne. 

30.  A  shipyard  at  St.  Nazaire. 

31.  “The  House  with  a  Shell-Hole’’ 
at  Badonviller.  The  power  of 
destruction  of  a  single  shell  is 
illustrated  by  this  house ;  the 
entire  front  wall  from  roof  to 
cellar  had  been  torn  out  by  the 
force  of  one  blow. 

32.  Inside  the  church  at  Badon¬ 
viller. 

33.  Badonviller.  This  drawing 
shows  a  typical  example  of  a 
home  that  has  been  smashed  in 
and  is  held  from  toppling  into 
the  street  by  a  number  of 
wooden  props. 

34.  Motor  trucks  at  Langres. 

35.  Scene  at  Saumur. 

36.  Champ-de-Mars,  Chaumont. 

37.  Aviation  field  near  Toul. 

38.  Constructing  the  great  wharves 
at  Montoir,  for  the  unloading 
of  freight  vessels  in  connection 
with  the  huge  Montoir  storage 
warehouses. 

39.  Wagons  and  tents  at  Menil-la- 
Tour. 

40.  The  plains  at  Is-sur-Tille. 

41.  A  field  hospital  on  the  road  to 
Chateau-Thierry. 

42.  Regimental  headquarters  near 
a  group  of  farm  buildings  at 
Grand  Ballois. 


43.  Under  the  trees  at  Andilly. 

44.  The  trail  to  Belleau  Woods. 

45.  Assembling  locomotives  at  St. 
Nazaire. 

46.  A  billet  village  on  the  Marne. 

47.  Looking  down  into  Chateau- 
Thierry;  the  Germans  occupied 
the  part  of  the  town  beyond  the 
river  (marked  by  the  line  of 
high  buildings)  and  the  hills 
shown  in  the  distance. 

48.  On  the  wharves  at  St.  Nazaire. 

49.  In  the  basin  of  St.  Nazaire. 

50.  In  a  shop  at  St.  Nazaire.  The 
guns  are  French  guns  being  re¬ 
paired  for  American  use. 

51.  A  Y.M.  C.A.  tent  at  Is-sur- 
Tille. 

52.  In  the  village  of  Andilly,  near 
Menil-la-Tour. 

53.  An  encampment  in  the  wood. 

54.  Hustling  freight  at  St.  Nazaire. 

55.  In  the  salvage  depot  at  St. 
Pierre. 

56.  A  view  from  the  terrace  at 
Boucq. 

57.  A  French  town. 

58.  Reherrey ;  the  army  cook. 

59.  Vacqueville,  a  village  behind 
the  lines. 

60.  Building  the  hospitals  at  Ba- 
zailles,  showing  an  extension  of 
the  hospital ;  the  workmen 
shown  here  are  Chinese. 

61.  Reherrey. 

62.  A  locomotive  shop  at  St.  Na¬ 
zaire. 

63.  The  railhead  dump  at  Menil- 
la-Tour. 

64.  Unloading  freight  at  St.  Na¬ 
zaire. 

65.  American  graves  at  Menil-la- 
Tour. 

66.  The  dry-dock  at  St.  Nazaire. 

67.  A  view  of  general  headquarters 
and  Chaumont. 


[24] 


( Q  Committee  on  Public  Information 


GEORGE  HARDING 
Chateau-Thierry 


68.  A  kitchen  at  Andilly. 

69.  A  barrack  street  at  Is-sur- 
Tille. 

70.  Merviller.  But  by  the  use  of 
overhead  camouflage  screening, 
one  strip  of  which  is  here 
shown,  the  traffic  along  this 
road  is  concealed. 

71.  At  Menil-la-Tour. 

72.  Aero  squadrons  near  Toul. 

73.  A  street  in  Sanzey. 

74.  A  roll-call  after  the  fight;  a 
camp  on  the  road  to  Belleau 
Woods. 

75.  A  street  corner  at  Badonviller. 

76.  A  billet  at  Rangeval,  in  the  hay 
loft  of  a  stable. 

77.  Refrigerating  plant  at  Gievres. 

78.  Ruined  houses  at  Dieulourd. 

79.  At  Andilly. 

80.  A  billet  at  Pexonne. 

81.  At  the  camouflage  factory  in 
Dij  on. 

82.  A  blacksmith  shop  at  Boucq. 

83.  A  cell  in  the  monastery  at 
Rangeval. 

84.  Artillery  position  near  Pexonne. 

85.  The  road  to  headquarters,  Boucq. 

86.  An  old  O.  P.  at  Martincourt. 

87.  A  view  of  Neuf chateau. 

88.  The  entrance  to  a  dugout  at 
Neufmaisons. 

89.  A  street  in  Baccarat. 

90.  The  stable  court  at  Boucq. 

91.  Building  operations  at  Is-sur- 
Tille. 

92.  A  road  at  the  front. 

93.  A  corner  house  at  Badonviller. 

By  Captain  Harry  E.  Townsend 

94.  The  hurry  call;  the  night  of 
May  30,  1918,  in  the  Toul 
Sector. 

95.  View  from  a  ruined  garden  in 
Vaux. 


96.  Viels  Maison,  near  Chateau- 
Thierry;  a  typical  scene  in  any 
French  town  in  the  U.  S.  Army 
zone. 

97.  Vaux;  a  shapeless  mass  of  ma¬ 
sonry. 

98.  Salvage ;  clearing  up  the  fields 
behind  the  lines. 

99.  Left  by  the  Hun;  a  152M 
mortar. 

100.  Northwest  of  Chateau-Thierry ; 
the  road  to  the  front. 

101.  A  quiet  sector  in  Lorraine,  op¬ 
posite  Domevre. 

102.  Vaux.  July  23,  1918. 

103.  Hill  204.  July  23,  1918. 

104.  Refugees  from  Chateau-Thierry 
section. 

105.  A  roadside  repair  station,  near 
Chateau-Thierry. 

106.  A  forced  landing  near  Neuf- 
chateau.  (A  Breguet  reconnais¬ 
sance  plane.) 

107.  Officers’  mess,  near  Chateau- 
Thierry. 

108.  A  roadside  Y.  M.  C.  A.  can¬ 
teen,  northwest  of  Chateau- 
Thierry. 

109.  A  French  soldier. 

110.  An  American  soldier. 

111.  An  American  aviator  in  his 
“Teddy  Bear’’  costume. 

By  Captain  TV.  J.  Tduncan 

112.  Soldiers’  billet  in  a  village  in 
the  neighborhood  of  Chateau- 
Thierry. 

113.  A  battery  of  French  75’s  shell¬ 
ing  the  Germans  on  the  ridge 
to  the  left  of  Chateau-Thierry. 

114.  American  soldiers  quartered  in 
the  loft  of  an  old  barn  on  the 
outskirts  of  Chateau-Thierry. 
The  sword  hanging  on  the  wall 
is  a  souvenir  picked  up  by  one 
of  the  men. 


[25] 


115.  View  of  Chateau,  June  7,  1918; 
the  Germans  shelling  the  town, 
where  several  fires  are  burning. 

116.  American  officers’  mess  in  the 
cellar  of  a  house  in  Chateau- 
Thierry,  June  7,  1918.  The 
box  on  the  table  is  a  telephone. 

117.  German  prisoners  under  guard 
on  their  way  to  work,  Neuf- 
chateau. 

118.  French  auto-trucks  and  ambu¬ 
lances  parked  in  the  Place  Car¬ 
riers,  Neuf chateau,  awaiting  a 
call  from  the  front. 

119.  The  church  at  Fossoy,  on  the 
German  line  of  retreat. 

120.  Blacksmith  shop  and  wagon  re¬ 
pair  shed  on  the  road  to  Boucq. 
The  dark  figure  in  the  center 
sketching  is  Louis  Raemaekers, 
the  famous  Dutch  cartoonist. 

By  Captain  W.  J.  Aylxvard 

121.  Main  street  in  Sanzey. 

122.  The  road  through  Fossoy,  on 
the  German  line  of  retreat. 

123.  Wagon  train  at  Viffort,  July, 

1918. 

124.  A  street  in  Neufchateau. 

125.  An  American  relief  entering 
Nesle. 

126.  Billeting  village  near  Neuf¬ 
chateau. 

127.  A  sniper  at  Chateau-Thierry, 
July.  1918. 

128.  A  street  in  Neufchateau. 

129.  A  bridge  at  Neufchateau. 

130.  The  church  at  Nesles,  July  9, 
1918. 

131.  The  river  at  Neufchateau. 

132.  A  billeting  village  near  Neuf¬ 
chateau. 

133.  A  billeting  village  near  Neuf¬ 
chateau. 

134.  Billeting  village  near  Neuf¬ 
chateau. 

135.  His  bunkie. 


By  Captain  Wallace  Morgan 

136.  Artillery  outfit  going  into  camp. 

137.  American  artillery,  after  days 
of  hard  fighting,  moving  through 
the  Bois  de  Villers  Cotterets  on 
the  morning  of  July  19,  1918. 

138.  Dressing  station  in  ruined  farm, 
region  of  Ploisy,  July  19,  1918. 

139.  American  troops  marching 
through  the  Place  de  la  Con¬ 
corde,  Paris,  July  14,  1918. 

140.  “The  Alert,”  Badonviller. 

141.  Ruined  chateau,  village  of  Eix; 
once  headquarters  of  the  Crown 
Prince. 

142.  Dugouts  occupied  by  U.  S. 
Marines  in  an  old  quarry — 
Verdun  Sector. 

143.  Bomb-proof  billets  and  “chow,” 
Neufmaison. 

144.  In  billets.  American  boys  help¬ 
ing  French  women  strip  willow 
boughs  for  baskets  at  Reherrey. 

145.  The  morning  wash-up,  Neuf¬ 
maison. 

146.  A  dressing  station  in  a  culvert 
under  the  road  to  Lucy,  near 
Bois  de  Belleau. 

147.  Supply  trains  on  the  Paris- 
Metz  road  during  the  battle  of 
Belleau  Wood. 

148.  Artillery  horses  in  the  river  at 
Andilly. 

149.  Dugouts  of  the  Fifth  Marines 
in  Bois  de  Belleau. 

150.  German  machine  gun  position 
in  Belleau  Wood. 

151.  “The  G.  C.  at  Dawn,”  Badon¬ 
viller. 

152.  A  roadside  blacksmith  near  the 
lines,  Sazney. 

153.  French  light  tanks.  French  co¬ 
lonial  infantry  and  American 
artillery  moving  forward  in  the 
region  of  Ploisy  on  the  morn¬ 
ing  of  July  19,  1918. 


[26] 


(C)  Committee  on  Public  Information 


WALLACE  MORGAN 
French  Light  Tanks 


154.  Men  of  the  Fifth  Marines  in 
reserve  near  Montreuil.  The 
woods  in  which  the  men  were 
encamped,  although  well  back 
of  the  line  were  still  in  range 
of  the  German  guns.  The  men 
had  built  individual  dugouts  in¬ 
to  which  they  would  disappear 
at  the  first  sound  of  trouble. 

155.  Troops  resting  after  a  long 
march,  near  Sanzey. 

156.  American  soldiers  on  the  march. 

By  Captain  Ernest  Peixotto 

157.  The  famous  cavalry  school  at 
Saumur.  In  the  foreground  are 
hurdles  and  a  group  of  candi¬ 
date  officers  receiving  instruc¬ 
tions. 

158.  American  troops  parading  down 
Avenue  President  Wilson  on 
July  4,  1918,  Paris. 

159.  American  troops  descending 
Avenue  President  Wilson  on 
July  4,  1918. 

160.  A  church  in  Badonviller. 

161.  Chateau-Thierry. 

162.  Neufmaisons,  a  typical  village 
of  the  Lorraine  front  in  which 
the  American  troops  were  bil¬ 
leted. 

163.  Watering  horses  in  a  village  in 
the  Toul  Sector. 

164.  Barracks  at  battalion  head¬ 
quarters  on  the  Verdun  front 
held  by  American  troops. 

165.  Town  in  German  Alsace,  in  the 
American  zone  and  patrolled 
by  American  military  police. 

166.  Village  (Soppe-la-Bas)  in  Ger¬ 
man  Alsace,  used  as  a  head¬ 
quarters  by  a  regiment  of 
American  infantry.  The  street 
is  camouflaged  to  prevent  ob¬ 
servation  balloons  from  watch¬ 
ing  troop  movements. 

167.  American  soldiers  billeted  in  re¬ 
ception  room  of  an  old  Bene¬ 

[27] 


dictine  monastery  in  the  Toul 
Sector. 

168.  Unloading  war  material  from  a 
big  freighter  at  the  dock,  St. 
Nazaire. 

169.  American  observation  post  front 
line  near  Verdun  overlooking 
the  road  to  Metz ;  village  of 
Handimont. 

170.  Effects  of  shell  explosion  in  a 
town  on  the  north  of  the  Toul 
Sector. 

171.  Tressing  nets  for  artillery  em¬ 
placements,  central  camouflage 
depot,  Dijon.  These  nets  are 
made  of  pieces  of  painted  bur¬ 
lap  tied  with  roppa  to  chietan 
wire. 

172.  A  lock  in  the  Rhone  Canal 
(German  Alsace)  used  as  an 
auto  post  by  American  troops 
in  No  Man’s  Land.  To  the  left 
is  a  ruined  German  village ;  a 
Chauchat  gun  emplacement  is 
at  the  right. 

173.  Courtyard  of  ruined  chateau  in 
the  Toul  Sector,  now  used  as 
repair  works  for  autos  and 
trucks. 

174.  After  the  bombardment;  Ba¬ 
donviller. 

175.  Billets  in  the  cell  of  the  old 
monastery  at  Rangeval,  near 
Boucq.  Drawings  on  the  wall 
were  made  by  a  soldier,  depict¬ 
ing  France  killing  the  German 
monster. 

176.  American  soldiers  washing  up 
in  the  Doller  River  in  a  town 
in  German  Alsace. 

177.  The  ammonia  compressor  at  the 
great  ice  plant,  Gievres.  The 
entire  plant,  one  of  the  largest 
in  existence,  was  brought  over 
and  constructed  by  Americans. 

178.  The  inner  basins  of  the  port  of 
St.  Nazaire.  (Note  the  peculiar 
“dazzle”  camouflage  of  the 
steamer  in  the  foreground.) 


179.  One  of  the  locomotive  shops 
near  St.  Nazaire. 

180.  Locomotive  shops  near  St.  Na¬ 
zaire. 

181.  Houses  at  Badonviller. 

182.  Church  at  Baccarat. 

183.  Ruins  in  Baccarat,  France. 

184.  General  view  of  the  yards  at 
Is-sur-Tille,  France. 

185.  Making  nets  and  camouflage 
materials ;  central  camouflage 
depot  at  Dijon. 

186.  Ships  unloading  American  war 
material  at  St.  Nazaire.  (The 
work  on  the  dock  is  being  done 
by  German  prisoners  under 
guard.) 

187.  A  transport  with  troops  coming 
through  the  lock  at  St.  Nazaire. 


188.  The  paint  shop;  central  Ameri¬ 
can  camouflage  depot  at  Dijon. 

189.  Camouflaged  barracks  for  col¬ 
ored  troops  ;  airing  the  bedding 
on  Sunday;  Is-sur-Tille. 

190.  Saumur  on  the  Loire. 

191.  Bombarded  town  in  the  North 
Toul  Sector,  deserted  by  its 
civil  population. 

192.  Machine  gun  battalion  at  drill. 

193.  Afternoon  concert  in  the  court¬ 
yard  at  the  Hospital  at  Langres. 

194.  Headquarters  of  the  American 
Army  Schools  in  an  old  Renais¬ 
sance  residence. 

195.  St.  Aignan. 

196.  The  river  front  at  Nantes;  here 
the  vessels  of  lighter  draught 
unload  American  war  material. 


Paintings 


197.  The  Entrance  of  King  Albert 
into  Ostend 

198.  The  Sinews  of  War 

Gifford  Beal 

199.  Murder  of  Edith  Cavell 

George  Bellows 

200.  Teuton  Demon 

Mortimer  Block 

201.  Good  Friday  in  a  Paris  Church 

Ernest  L.  Blumenschein 

202.  Crime  by  Moonlight 

Howard  Russell  Butler 

203.  Night  Back  of  the  Lines 

204.  Letters  from  Home 

205.  At  the  Front 

Charles  S.  Chapman 

206.  The  Dawn  in  France 

Eliott  Clark 

207.  For  Their  Protection 

Warren  Davis 


208.  Sunk  Without  a  Trace 

209.  A  Shipyard 

Paul  Dougherty 

210.  Lift  the  Burden  from  Our 
Children 

Kenneth  Frazier 

211.  Belgian  Refugee 

Arthur  Friedlander 

212.  Columbia  Slaying  the  Monster 

Henry  B.  Fuller 

213.  Retreat  from  Lodz,  1914 
213a. Russian  Army  in  Carpathians 

Leon  Gaspard 

214.  Sketch  for  Russia 

William  J.  Glackens 

215.  The  Widow 

Charles  W.  Hawthorne 

216.  Sans  Peur  et  Sans  Reproche — 
Le  Chevalier  Bayard 

Albert  Herter 


[28] 


GEORGE  LUKS 
Blue  Devils  on  Fifth  Avenue 


217.  An  Expedition 

Eugene  Higgins 

218.  Submarine  Sinks  Hospital  Ship 

Charles  Hopkinson 

219.  The  Trail  of  the  Hun 

Francis  C.  Jones 

220.  If  You  Have  This  and  Don’t 
Want  This 

H.  Bolton  Jones 

221.  French  Day  on  Fifth  Avenue 

Hayley  Lever 

222.  By  the  Dawn’s  Early  Light 

223.  On  the  Job  for  Victory 

Jonas  Lie 

224.  Blue  Devils  on  Fifth  Avenue 

225.  Czecho-Slovaks  Entering  Vladi- 
vostock 

226.  Czecho-Slovaks  in  American 
Camp  Celebrating  Their  Rec¬ 
ognition  as  a  Nation 

George  B.  Luks 

227.  English  Red  Cross  Nurse 

Harrington  Mann 

228.  A  Scotch  Drummer 

Gari  Melchers 

229.  They  Go  Across  for  You 

J.  Campbell  Phillips 

230.  Over  There 

Chauncey  F.  Ryder 

231.  Fight  On 

W.  Granville  Smith 

232.  She  Gave — You  Lend 

Eugene  Speicher 

233.  Why  We  Must  Carry  On 

Gardiner  Symons 

234.  Crusaders 

235.  Undersea  Pirates 

236.  They  Also  Serve 

William  Ritschel 


237.  1918 — Carry  On 

238.  To  the  Last  Drop 

239.  You  Must  Choose 

Augustus  Vincent  Tack 

240.  A  Ruined  Church 

Eliot  Torrey 

241.  Hand  to  Hand 

Walter  Varian 

242.  The  Vow 

Douglas  Volk 

243.  Don’t  Camouflage 

Frederick  Waugh 

244.  First  Aid  Station  at  Seichprey 

245.  By  the  Dawn’s  Early  Light 

246.  Bringing  in  the  Wounded 

247.  Night  Attack  near  Apremont 

248.  A  Grave  on  the  Marne 

249.  A  Machine  Gun  Nest 

250.  Portrait  of  General  Pershing 

Samuel  J.  Woolf 

251.  The  Flying  Cranes  of  Bristol 

252.  The  Launch  of  the  Watonwan 

253.  Two  More  in  Answer  to  Sea 
Piracy 

254.  Ready  for  the  Water 

255.  Bolt  and  Rivet  Crew 

256.  Deck  of  a  New  Ship — Bristol 

John  C.  Johansen 

257.  Early  Morning  on  Fifth  Ave¬ 
nue,  May,  1917 

257a. Flags  of  the  Allies 
Childe  Hassam 

258.  A  Tragedy  of  the  War 

Howard  Giles 

259.  Marshal  Joffre 

Georgine  Campbell 

260.  Knitting  for  the  Soldiers 

J.  Alden  Weir 

261a. Looking  Down  Over  New  York 
261b. Flying  Formation 
George  P.  Ennis 


[29] 


Naval  Camouflage 

Paintings  and  Drawings  by  the  Marine  Camoufleurs  of  the 
U.  S.  Shipping  Board,  Second  District 


261.  The  Camoufleur 

262.  Morse’s  Dry  Dock  (Night) 

263.  The  Tanker 

264.  Moonlight 

Spencer  B.  Nicholls 

265.  The  Transport 

266.  Robins  Dry  Dock  (Sketch) 

267.  Robins  Dry  Dock  (Sketch) 

268.  Robins  Dry  Dock  (Sketch) 

269.  Robins  Dry  Dock  (Sketch) 

Hobart  Nicholls 

270.  Robins  Dry  Dock  (Sketches) 

Alonzo  Kimball 

271.  Camouflage  at  Robins  Dry  Dock 

272.  Camouflaged  Ships  at  Erie  Basin 

273.  Camouflage  on  the  Mystic  River 

274.  Leaving  for  Providence 

Arthur  Turnbull  Hill 

275.  Preparing  for  the  Voyage 

276.  Reflections 

277.  Repairing  the  Rudder 

278.  Waiting  Her  Chance 

279.  Preparatory  Activity 

Alfred  Hutty 

280.  Dazzle  and  Low  Visibility 

George  E.  Harris 


281.  “Way  Street,”  Port  Newark 
Ship  Yard 

282.  Along  the  Fitting  Dock,  Port 
Newark  Ship  Yard 

283.  The  Gantry  Crane,  Port  New¬ 
ark  Ship  Yard 

Hubert  R.  Chapin 

284.  On  the  Float 

Henry  Davenport 

285.  The  Freighter 

286.  Camouflage 

Harry  Farlow 

287.  On  the  Hanging  Stage 

288.  High  and  Dry 

289.  Repairing  the  Propeller 

290.  Robins  Dry  Dock 

Thomas  D.  Benrimo 

291.  Activity  at  Number  Four 

292.  From  Over  There 

Ralph  T.  Willis 

293.  War  Paint 

294.  Camouflaged 

C.  M.  Sax 

295.  British  Dazzle 

296.  Through  An  Old  Funnel 

M.  McGregor  Jamieson 

297.  Old-Fashioned  Shipyard 

Alon  Bement 


Drawings 

by  George  Wright 

Sketched  at  the  Pelham  Bay  Train¬ 
ing  Station  and  at  the  Brook¬ 
lyn  Navy  Yard 

298.— 305. 


[30] 


SAMUEL  J.  WOOLF 
First-Aid  Station  at  Seicheprey 


Cartoons 

by  W.  A.  Rogers 

306.  Like  Sheep  to  the  Slaughter 
(Verdun) 

307.  A  Silent  Company  (Lusitania) 

308.  Hold  Fast!  (The  Beast  of 
Berlin) 

309.  Museum  of  Ancient  History — 
Berlin  (Relics  of  the  Hohen- 
zollerns) 

Cartoons 

by  C.  D.  Gibson 

310. — 315. 

Drawings 

by  Samuel  J .  Woolf 

316.  Marshal  Joffre 

317.  General  Hunter  Liggett 

318.  General  Robert  L.  Bullard 


319.  General  Clarence  Edwards 

320.  General  Robert  Alexander 

321.  General  Frank  W.  Coe 

322.  Hun  Gratitude  (Drawing) 

Drawing 

323.  The  Serb 

Boardman  Robinson 

Woodcut 

324.  President  Wilson 

Timothy  Cole  ( after  Sargent ) 

Etchings 

by  Louis  Orr 

325.  Rheims  Under  Fire 

— -The  Fagade 

326.  Rheims  Under  Fire 

— View  from  the  South 

327.  Rheims  Under  Fire 

— The  Interior 


Posters 

(  Original  Drawings ) 


328.  All  Together 

329.  Campaign 

Poster  for  United  War  Work 

330.  The  Navy  Puts  ’Em  Across 

331.  The  Destroyer  Patrol 

Lieut.  Henry  Reuterdahl, 
U.S.N. 

332.  Help  the  Women  of  France — 
Save  Wheat 

Edward  Penfield 

333.  The  President’s  Appeal  to  Labor 

Herbert  Paus 

334.  Keep  Him  Free 

Charles  Livingston  Bull 

335.  Navy  Recruiting  Poster 

Albert  Sterner 


336.  God  Gave  You  All  You  Have 
to  Give 

F.  Walter  Taylor 

337.  Sketch  for  Navy  Billboard 

Arthur  Crisp 

338.  Must  Mothers  Die  and  Children 
Plead  in  Vain? 

Walter  H.  Everrett 

339.  Navy  Recruiting  Poster 

R.  F.  Babcock 

340.  Camouflaged  Ship  Convoyed  by 
Destroyer 

Adolph  Treidler 

341.  Navy  Recruiting  Poster 

J.  C.  Leyendecher 


[31  ] 


342.  Feed  a  Fighter 

Wallace  Morgan 


343.  The  Navy  Strikes  Now  (Sketch) 
James  Daugherty 


344.  Navy  Recruiting  Poster 
Kenyon  Cox 


(  Lithographs  ) 


345.  Stand  Behind  the  Country’s 
Girlhood — Y.  W.  C.  A. 

W.  T.  Benda 

346.  Order  Coal  Now 

J.  C.  Lyendecker 

347.  Hunger 

348.  Blood  or  Bread 

349.  Halt  the  Hun 

Henry  Raleigh 

350.  Food  Is  Ammunition 

351.  Hey,  Fellows! 

J.  E.  Sheridan 

352.  Keep  It  Coming 

George  Illian 

353.  The  Camp  Library  is  Yours 

354.  Books  Wanted 

355.  New  York  Decorators’  Fund 

356.  E-E-E-Yah-Yip 

C.  B.  Falls 

357.  War  Rages  in  France 

Harry  Townsend 

358.  Together  We  Win 

James  Montgomery  Flagg 

359.  If  You  Can’t  Go  Across  with  a 
Gun,  Come  Across  with  Your 
Part  of  the  Red  Cross  War  Fund 

C.  W.  Love 

360.  Motherless,  Fatherless,  Starving 

Arthur  Crisp 

361.  Help  Her  Carry  On 

Charles  Dana  Gibson 


362.  That  Liberty  Shall  Not  Perish 
from  the  Earth 

Joseph  Pennell 

363.  His  H  ome  Over  There — 
Y.M.C.A. 

Albert  Ilerter 

364.  Look  After  Mv  Folks 

Frank  Brangwyn 

365.  24-Sheet  W.  S.  S. 

366.  Help  Stop  This 

367.  Farm  to  Win 

368.  Make  Every  Minute  Count  for 
Pershing 

Adolph  T reidler 

369.  Enlist  in  the  Navy 

Milton  Bancroft 

370.  Teamwork  Wins 

Hibbard  V.  B.  Kline 

371.  Over  There 

Albert  Sterner 

372.  Hip,  Hip,  Another  Ship 

George  Wright 

373.  On  the  Job  for  Victory 

Jonas  Lie 

374.  Eat  More — Eat  Less 

L.  N.  Britton 

375.  Help  Your  Red  Cross 

Hubert  Chapin 

376.  Save  Food 

Herbert  Pans 

377.  Carry  On 

Edwin  H.  Blash  field 


378.  Four  Years  in  the  Fight — The  379.  Remember — The  Flag  of  Lib- 
Women  of  France — We  Owe  ertv — Support.  It 

Them  Houses  of  Cheer  Anonymous 

Lucien  Jonas 


Lithographs 

by  Joseph  Pennell 


FUEL  AND  FOOD  SERIES 

380.  Loading  Coal 

381.  Stock  Yard 

382.  Coal  and  Corn  Ships 

383.  The  Sidewise  Launch 

384.  The  Endwise  Launch 

385.  Loading  Ore 

386.  The  Push 

387.  The  Classic  Breaker 

388.  Bessemer  Steel 

389.  Camoufleurs  Camouflaging 

390.  Repairing  the  Wheel 

391.  The  Towers  of  Oil 

392.  The  New  American  Town 

393.  The  Flour  City 

394.  The  Old  Breaker 

395.  The  Highest  of  All 

396.  The  City  of  Tanks 

397.  Morning  Mist  in  the  Coal  Coun¬ 
try 

398.  The  Mining  Town 

399.  Breaker  Land 

400.  In  the  Yards 

401.  Pork 

402.  The  Mine  City 

ENGLISH  WAR  WORK 

403.  Cutting  and  Turning  a  Big  Gun 

404.  Bottling  the  Big  Shell 

405.  Evening  in  the  Munition  Coun¬ 
try 

406.  Bringing  in  the  Gun 

407.  By-Products 

408.  Making  Armor  Plate 

[* 


409.  Within  the  Furnaces 

410.  The  Great  Tower 

411.  The  Cauldron 

412.  The  Old  Shipyard 

413.  Planing  Big  Shells 

414.  The  Urns 

415.  The  Acolytes  Preparing  the 
Altar  of  the  War  Gods 

416.  The  New  Gun  Pit 

417.  The  Great  Hammer 

418.  The  Presses 

419.  The  Perambulator 

AMERICAN  WAR  WORK 

420.  Ready  to  Start 

421.  Building  the  Battleship 

422.  Making  War  Locomotives 

423.  The  Flying  Locomotive 

424.  The  Armor  Plate  Press 

425.  In  the  Land  of  Brobdingnag 

426.  The  White  Hammer 

427.  Shaping  a  Gun  from  an  Ingot 

428.  Casting  Shells 

429.  Shell  Factory,  No.  2 

430.  Shell  Factory,  No.  1 

431.  Forging  Shells,  the  Slaves  of 
the  Wheel 

432.  Little  Men  of  the  Big  Hammer 

433.  Ready  for  Service  Again 

434.  Building  Submarine  Chasers 

435.  Under  the  Shed 

436.  Battleship  Coming  Home 

437.  Submarines  in  Dry  Dock 

438.  Building  Destroyers,  No.  2 

439.  In  the  Dry  Dock 

8] 


Lithographs 

by  George  Bellows 

440.  Murder  of  Edith  Cavell 

441.  Sniped 

442.  Gott  Strafe  England 

443.  Massacre  at  Dinant 

444.  The  Germans  Arrive 

445.  Dressing  Station 

446.  The  Barricade 

447.  The  Last  Victim 

448.  Return  of  the  Useless 

Lithographs 

by  Childe  Hassam 

449.  North  River 

450.  Lafayette  Street 

451.  Camouflage 


452.  The  Avenue  of  the  Allies 

453.  The  French  Cruiser 

454.  New  York  Bouquet 

455.  Portrait  of  General  Pershing 
(Lithograph) 

Leo  Mielziner 

456.  The  Gantry  (Lithograph) 

Herbert  Pullinger 

457.  Sketch  for  Victory  Arch  from 
Design  by  Thomas  Hastings 
(Lithograph) 

Chesley  Bonestell 

Group  of  Drawings 

by  Hugh  Ferriss 

458. -467. 


Sculpture 


468.  Forward,  Democracy! 

Herbert  Adams 

469.  Peace 

Albert  Henry  Atkins 

470.  Captured,  but  Not  Conquered 

471.  Victory 

Cyrus  W .  Dallin 

472.  Portrait  of  Rear-Admiral 
Gleaves 

473.  Commander  of  Transport, 

U.  S.  N. 

Bell  Kinney 

474.  Blighty 

475.  Sketch  for  Monument  to  Guy 
Drummond 

R.  Tait  McKenzie 

476.  The  Spirit  of  1918 

Basilica  Paeff 


477.  The  Advancing  Democracy 

Charles  H.  Niehaus 

478.  One  of  the  Buffaloes 

479.  Artilleryman 

Mahonri  Young 

480.  Christianity  Crushing  Autoc 
racy 

Cartinano  Scarpitta 

481.  Backing  Them  Up 

Solon  Borglum 

482.  Salut  aux  Americains 

Brenda  Putnam 

483.  A  Modern  Crusader  of  Serbia 

Malvina  Hoffman 

484.  Belgium 

Edith  Barretto  Parsons 

485.  Belgium 

Salvatore  Billotti 


[34] 


486.  The  Shrine  of  Liberty 

Ulric  Ellerheusen 

487.  The  March  of  Democracy 

Albert  A.  W einert 

488.  A  Poet  of  the  Air 

489.  The  Son  of  a  Great  Actor 

Sarah  Morris  Greene 

490.  Columbia,  1918 

Hermon  A.  MacNeil 

491.  A  Young  Aviator 

Arina  Coleman  Ladd 

492.  The  Refugees 

E.  C.  Potter 

493.  L’Elan  Vital 

Eugenie  F.  Shonnard 

494.  Bereaved 

Isador  Konti 

495.  Sammy 

George  T.  Lober 

496.  Hun  Knighthood 

C.  C.  Rumsey 

497.  Red  Cross  Dog 

498.  Wounded  Soldier 

Frederick  C.  R.  Roth 


499.  Design  for  Medal  for  Valor 

500.  Study  for  War  Monument 

Jessie  M.  Lawson 

501.  Jeanne  d’Arc  Medal 
Kultur  Medal 

French  Heroes’  Fund  Medal 
Art  War  Relief  Medal 
Paul  Manship 

502.  Lieut.  Henri  Farre 

503.  Major  Gabriele  d’Annunzio 

Clio  Bracken 

504.  Columbia — 1918 

Adolphe  A.  Weinman 

505.  The  Grenade  Thrower 

Albert  Jaegers 

506.  Red  Cross  Nurse 

Mabel  Conkling 

507.  Medal  Commemorative  of  the 
Crossing  of  the  Channel  by 
“Plane”  of  King  Albert  and 
Queen  Elizabeth 

508.  Medal  of  the  Allies  (American 
Fund  for  French  Wounded) 

Theodore  Spicer-Simpson 


Landscape  Targets 

As  Used  in  the  Artillery  Schools 

Bolton  Jones 
\  Francis  C.  Jones 

509a.  Augustus  Vincent  Tack 


[35] 


Great  Britain 


A  Set  of  Lithographs  Reflecting  Britain’s  Efforts  and 
Ideals  in  the  Great  War.  Loaned  by  the 
British  Goveryiment 

I 

Britain’s 


Eric  Ke  nning  ton 

Making  Soldiers 

1  x.  Bayonet  Practice 

2  x.  Fully  Trained.  Ready  for  Ser¬ 

vice 

3  x.  In  the  Front-Line  Trench  for 

the  First  Time 

4  x.  The  Gas  Mask 

5  x.  Over  the  Top 

6  x.  Bringing  in  Prisoners 

Frank  Brangwyn,  A.R.A. 

Making  Sailors 

7  x.  Youthful  Ambition 

8  x.  Going  Abroad 

9  x.  Boat  Drill 
10  x.  The  Lookout 
llr.  The  Gun 

12  x.  “Duff” 

George  Clausen,  R.A. 

Making  Guns 

13  x.  Where  the  Gun  is  Made 

14  x.  The  Furnace 

15  x.  The  Great  Hammer 

16  x.  Turning  a  Big  Gun 

17  x.  The  Radial  Crane 

18  x.  Lifting  an  Inner  Tube 


Efforts 

M uirliead  Bone 
Building  Ships 

19  x.  A  Shipyard 

20  x.  On  the  Stocks 

21  x.  A  Shipyard  Scene  from  a  Big 
Crane 

22  x.  A  Work  Shop 

23  x.  A  Fitting-Out  Basin 

24  x.  Ready  for  Sea 

C.  R.  W.  Nevinson 
Making  Aircraft 

25  x.  Making  the  Engine 

26  x.  Assembling  Parts 

27  x.  Acetylene  Welder 

28  x.  In  the  Air 

29  x.  Banking  at  4,000  Feet 

30  x.  Swooping  on  a  Taube 

Charles  Pears 
Transport  by  Sea 

31  x.  Maintaining  Food  Supplies 

32  x.  Maintaining  Export  Trade 

33  x.  Supplying  the  Navy 

34  x.  Transporting  Troops 

35  x.  Maintaining  Oversea  Forces 

36  x.  The  Place  of  Safety 

r  36] 


C.  R.  W.  NEVINSON 
Banking  at  Four  Thousand  Feet 


A.  S,  Hartrick,  A.R.W.S. 

Woman's  Work 

37  x.  On  the  Land — Ploughing 

38  x.  On  the  Railways — Engine  and 

Carriage  Cleaning 

39  x.  In  the  Towns — ’Bus  Conductor 

40  x.  On  Munitions:  Skilled  Work 

41  x.  On  Munitions :  Dangerous 

Work— Packing  T.  N.  T. 

42  x.  On  Munitions:  Heavy  Work — 

Drilling  and  Casting 

Willia  m  Rothenstein 

Work  on  the  Land 

43  x.  Ploughing 

44  x.  Drilling 


45  x.  Burning  Couch  Grass 
48  x.  Potato  Planting 

47  x.  Timber  Hauling 

48  x.  Threshing 

ClaudeS  he pperson,  A.R.W.S. 

Tending  the  Wounded 

49  x.  Advanced  Dressing  Station — 

in  France 

50  x.  Casualty  Clearing  Station — 

in  France 

51  x.  Hospital  Transport 

52  x.  Back  to  “Blighty” — Detrain¬ 

ing  in  England 

53  x.  In  Hospital — in  England 

54  x.  Convalescence — in  England 


55  x.  Defense  Against  Aggression — 

England  and  France,  1914 
Ernest  Jackson 

56  x.  Italia  Redenta 

Charles  Ricketts 

57  x.  The  Freedom  of  the  Seas 

Frank  Rrangwyn,  A.R.A. 

58  x.  The  Triumph  of  Democracy 

William  Rothenstein 

59  x.  The  End  of  War 

William  Nicholson 

60  x.  The  Restoration  of  Alsace-Lor¬ 

raine  to  France 

Maurice  Grieff  enhagen, 

A.  R.  A. 


The  Reconstruction  of  Belgium 
George  Clausen,  R.A. 

62  x.  Poland,  A  Nation 

Edmund  Dulac,  R.W.S. 

63  x.  The  Restoration  of  Serbia 

Professor  G.  Moira 

64  x.  The  Dawn 

Augustus  John 

65  x.  The  Reign  of  Justice 

Edmund  J.  Sullivan, 
A.R.W.S. 

66  x.  The  Re-birth  of  the  Arts 

Charles  Shannon 


II 

Britain’s  Ideals 

61  x. 


[37] 


Lithographs 

by  G.  Spencer  Pryse 

510.  East  Indian  Soldiers  in  Park 
of  French  Chateau 

511.  Artillery  Moving  into  Position 

512.  The  Stretcher  Bearer 

513.  An  Advanced  Dressing  Station 

514.  A  Wayside  Crucifix 

515.  Flight  by  Land 

516.  Flight  by  Sea 

517.  Belgium,  1914 

518.  The  War  Office  Telegram 

519.  The  British  Army  at  Le  Mans 

520.  The  Only  Road  for  An  Eng¬ 
lishman 

521.  Destitution 

522.  An  Incident  of  1914 

523.  The  Uhlan  Raid 

524.  Guns  in  Action 

525.  Forest  in  Compiegne 

526.  Belgian  Maternity 

527.  Interior  of  a  Belgian  House 

528.  Bathing  at  Ostend 

529.  Alarm  at  Beveren 

530.  Troops  on  the  Yser 

531.  Serbian  Flag  Day 

532.  British  Cavalry  Bivouac 

533.  Indians  and  Motor  Buses 

534.  Refugees,  1914 

535.  Fall  of  Ostend 

536.  Cavalry  Divisions  in  Ghent 
536a. Grand  Palace — Antwerp,  1914. 


537.  Fall  of  Ostend  on  the  Digne 

538.  Stretcher  Bearers  in  Cham¬ 
pagne 

539.  Retreat  of  the  7th  Division  and 

540.  3rd  Cavalry 

Lithographs 

by  Frank  Brangwyn 

541.  The  Last  Boat 

542.  German  Atrocities 

543.  A  Solitary  Prisoner 

544.  The  Submarine  Menace 

545.  War  !  To  Arms,  Citizens  ! 

546.  Remaking  of  Belgium 

547.  Men  on  the  March 

548.  Ypres  Tower 

549.  Orphans  of  the  War 

550.  U.  S.  Navy  Poster 

551.  Mars  Appeals  to  Vulcan 

552.  Do  Your  Duty  to  Our  Boys 

553.  The  Zeppelin  Raids 

554.  Violation  of  Belgium 

555.  Neuve  Chapelle 

556.  Navy  Recruiting  Poster 

557.  Sketch  for  Recruiting  Poster 

Dry-Points 

by  James  McBey 

558.  Albert 

559.  Boulogne,  1916 

560.  Spring,  1917 

561.  Frangais  Inconnus 


[38] 


FRANK  BRANGWYN 
The  Last  Boat 


F  ranee 


Lithographs 

by  Lucie  n  Jonas 

562.  Before  Going  Over  the  Top 

563.  The  Dispatch  Bearer 

564.  A  Volunteer 

565.  The  Permanently  Disabled 

566.  I  Love  You  All  the  Better  As 
You  Are  Now 

567.  Self-Sacrifice 

568.  I  Shall  Tell  Nothing 

569.  They  Must  Wait  for  Revenge 

570.  Mater  Dolorosa 

571.  The  Great  Offensive 

572.  The  Blind  Chaplain  and  the 
Paralyzed  Soldier 

573.  The  Sentry 

574.  The  Dead:  Attention! 

575.  During  the  Bombardment  by 
Barbarians 

576.  The  Soldier  of  Invaded  Coun¬ 
tries 

577.  Men  of  the  Somme 

578.  Deported  French  Women 

579.  The  Ramparts  of  Verdun: 
“They  Shall  Not  Pass !” 

580.  The  Sower 

581.  Prisoners  of  War 

582.  Antigone,  or  the  Blind 

583.  Our  Soldiers :  They  Hold  Well ! 

584.  Before  the  Ramparts  of  Verdun 

585.  They  Have  Killed  Her 

586.  I  H  ave  Come  to  Avenge  Your 
Father 

587.  Wait,  I  Come 

Lithographs 

by  Tin.  A.  Steinlen 

588.  Leaving  the  German  Prison 

589.  Courage ! 

590.  Serbian  Cavalry 

591.  Two  Poilus 

592.  Home  on  Leave 


593.  Old  People  of  Verdun 

594.  Under  the  Heel  of  the  Boche 

595.  The  Return 

596.  The  Orphans  of  the  War 

597.  The  Refugees  of  Meru 

A  Group  of  Posters 

Lithographs 

by  J.  L.  Forain 

598.  Greek  and  French 

599.  The  School  of  the  Neutrals 

600.  Forward! 

601.  The  Tableau 

602.  What,  Not  Even  a  Child? 

603.  The  Other  Danger 

604.  The  Zeppelin 

A  Group  of  Posters 

605.  Portrait  of  His  Son,  in  Uniform 
(Drawing) 

Auguste  Renoir 

606.  La  Tradition  (Woodcut) 

607.  Hymne  Americain  (from  the 
drawing) 

Hermann-Paul 

608.  Jeu  du  Soldat  Franqais  (from 
the  drawing) 

Guy  Arnoux 

609.  Pour  la  Belle  Terre  de  France 
(from  the  drawing) 

Benito 

610.  They  Must  Have  Their  Vic¬ 
tories 

611.  We  Are  Kind  Not  to  Requisi¬ 
tion  Your  Milk 

Abel  Faivre 

A  Group  of  Posters  by 
Various  Artists 


[39] 


Italy 

Etchings  of  Aeroplanes  by  Gianni  Caproni 
613.  620. 

A  Group  of  Posters  by  Various  Artists 


Czecho-Slovaks 


Etchings  by  J.  C.  V ondrous 

621.  Title  Plate  “The  Kultur-Bear- 

ers” 


622.  Belgium.  “The  Transportation 
of  Belgians  is  not  only  a  Right 
but  a  Social  Duty  of  the  Ger¬ 
man  Government” 

623.  The  Zeppelin.  “A  Remarkable 
Success.  Another  Great  Victory 
by  Our  Dirigibles” 


624.  The  Submarine.  “And  the  Gal¬ 
lant  Deeds  of  Our  Submarines 
Have  Secured  for  My  Navy 
Glory  and  Admiration  Forever” 

625.  Preservation  of  Art.  “We  Are 
Restoring  all  the  Ruined 
Churches,  Taking  Care  of  all 
Works  of  Art  as  well  as  Works 
of  Historical  Value.  Yet  We 
Are  Only  Barbarians?” 

626.  And  Serbia  ? 


Holland 


Drawings  636. 

by  Louis  Raemaekers  637. 

627.  The  Russian  Ballet 

628.  Judas,  Humanity  Destroyed 

629.  Pals  639. 

630.  The  Mad  Shepherd 

631.  For  the  Little  Ones  ^4:0. 

632.  Cinema  Chocolate 

641. 

633.  Super  Goth  in  Italy 


634.  Ameri  can  Soldiers  and  German- 

American  643. 

635.  You  Need  Cooling,  My  Friend  644. 

[40] 


Striker  to  Agitator 

American  Squadron  in  British 
Waters 

Let  Us  Smoke  the  Peace  Pipe 

We  Must  Have  Something  for 
All  Our  Trouble 

Fancy  a  Hundred  Children 
Killed 

The  Slackers 
Pacifist  Woman 
High  Treason 
Russian  Extremist 


LUCIEN  JONAS 
A  Volunteer 


C.  W.  KRAUSHAAR 

ART  GALLERIES 

260  Fifth  Avenue 

NEW  YORK 

^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiii  O  A  JrI E  Jfr  iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiK 


PAINTINGS  by 


Whistler 

Lavery 

Fantin-Latour 

Zuloaga 

Legros 

Maris 

Courbet 

Israels 

Yollon 

Tack 

Monticelli 

Sloan 

Le  Sidaner 

Guarino 

Besnard 

Luks 

|  BRONZES  by  I 

|  Barye,  Bourdelle  and  Mahonri  Young  1 

I  RARE  ETCHINGS  by  I 

|  Whistler,  Legros,  Bauer,  Zorn  | 

|  Muirhead  Bone,  Brangwyn  | 

!  and  Sir  Seymour  Haden  | 

^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiniiiiir 


On  View 


ENGLISH 

PORTRAITS 

AND 

COLORED 

MEZZOTINTS 

OF  THE 

XVIII  CENTURY 

AT 

M.  KNOEDLER  8c  CO. 

556  FIFTH  AVENUE 


NEW  YORK 


Scott  &;  Fowles 


Art 

Galleries 


590  Fifth  Avenue 

47th  and  48th  Streets 


New  York 


The  WHITNEY  STUDIO 

8  West  Eighth  Street 
NEW  YORK 


|  NOW  ON  VIEW  | 

|  Exhibition  of  PAINTINGS  | 

1  by  = 

I  ERNEST  LAWSON  1 

=  and  = 

I  GUY  PENE  DU  ROIS  ! 


Weekdays  10  a.  m.  to  5  p.  m 
Sundays  3  to  6  p.  m. 


MACBETH  GALLERY 


PAINTINQS  by  American  Artists 


Beal 

Dougherty 

Henri 

Melchers 

Sartain 

Betts 

Foster 

Homer 

Miller 

Symons 

Blakelock 

Frieseke 

Howe 

Murphy 

Tryon 

Carlsen 

Fuller 

Hunt 

Olinsky 

Twachtman 

Carlson 

Groll 

Inness 

Ranger 

Weir 

Davies 

Hassam 

LaFarge 

Robinson 

Wiggins 

Davis 

Flawthorne 

Martin 

Ryder 

Williams 

Daingerfield  Wyant 

Colonial  Portraits 

n  mini  i  n  miuummiuiiuiiiuuiiui  u  u  11  niirniiniinuiiiimTmnumiiiimaiiiiiimnniiaiimnm 

WILLIAM  MACBETH 

450  Fifth  Avenue  (At  Fortieth  street)  New  York  City 


iminniimmimmuimi 


iiimnmimiiiiiiiiimimiimiiiiiimmiumnimiimni 


The  MILCH  GALLERIES 


Dealers 
in 


AMERICAN 

PAINTINGS 


We  recommend  especially  the  pictures  of  con¬ 
temporary  artists  whose  reputations  have  been 
established  by  the  high  merit  of  their  work 

Our  booklet  with  the  latest  art  news 
of  the  galleries  sent  you  on  request 

E.  &  A.  MILCH,  inc. 

108  West  57th  Street  (LA0*3)  New  York 


ACKERMANN 

Sporting  Paintings 
Rare  Prints 


10  EAST  FORTY-SIXTH  STREET,  NEW  YORK 
LONDON  CHICAGO 


Henry  Reinhardt  &  Son 


OLD  AND 
MODERN 


PAINTINGS 


565  Fifth  Avenue 


New  York  City 


Chicago  .  .  536  S.  Michigan  Avenue 
Paris.  ...  12  Place  Vendome 


JOHN  LEVY 

High  Class  Paintings 

14  East  46th  Street 
New  York 


Esl  a  b  l  ish  ed  18.^8 

F.  KLEINBERGER 
GALLERIES,  inc. 

ANCIENT  PAINTINGS 

Specialties 

Primitives  of  all  Schools 

Old  Dutch  Masters 

Spanish  Old  Masters 

725  FIFTH  AVENUE  NEW  YORK 

Between  56th  and  57th  Streets 

PAIPTinGS  BY  AUlERICAn 
ARTISTS  OF  TO  DAY 


THE  DAIIIEL  GALLERY 
2  UI-47ST-  nELU  YORK 


PARISH -WATSON  &  CO. 

INC. 


Old  Chinese 
Porcelains 


560  Fifth  Avenue 


New  York 


zillllllllllllllllillllllllllllllllllllllllllllllllllllllllllllllllllilllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllilllllll^ 

I  SATINOVER  GALLERIES  \ 

|  27  West  Fifty-sixth  Street 

I  NEW  YORK  I 


|  IIIIIINIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII  | 

1  On  view  a  collection  of  Sixty  | 

|  high-grade  Primitives  from  j 

the  loth  to  16th  Century  | 

^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiH 


|  ^thrtrii  (fmUmrs  \ 

|  Dealers  in  | 

I  “(@llb  masters”  f 

1  exrlusroelg  | 

I  707  Fifth  Ave.,  New  York  | 

\  at  Jjth  Street  i 

i  Authentic  paintings  by  the  i 

greatest  as  well  as  by  the  | 

i  lesser-known  Masters  pur-  | 

chased  from  us  are  ex¬ 
changeable  at  the  full  pur-  1 

|  chase  price.  i 

I  ®l|?Sl|nrhgrmt(iallFrg  f 

707  Fifth  Avenue 

|  at  fjth  Street  I 

NEW  YORK  | 

Unusual  examples  of 
i  Old  and  (^Modern  Prints  | 


1  Fine  Quality  \ 

|  MODERN  | 
|  PAINTINGS  | 

I  WESTERN  PAINTINGS  | 

always  on  view 

1  BABCOCK  I 

I  ART  GALLERIES  | 

Est.  by  John  Snedecor,  1852  | 

|  19  East  49th  St.,  New  York  | 


Jflrriimrk  IKrppel 

&  (ft'.,  Slur. 


Rare  Engravings 
and  Etchings 

Artists’  Drawings 
Fine  Picture  Framing 


4-  East  Thirty -ninth  Street 
New  York 


Compliments 

of 

H.  Altman 
$c  (Eo. 

Madison  Avenue 
F  i  f  t  h  Avenue 
NEW  YORK 

Th  irty  -Fou  rth  Th  irty  -  Fi  ft  h 
Street  Street 


Established  1888 

Henry  Schultheis  Co. 

Fine  Paintings 
Prints 

ARTISTIC 

FRAMING 

142  Fulton  Street 

NEW  YORK 

Telephones:  Cortlandt  2477-24.78 


We  Negotiate  Sales  of 

HOUSEHOLD 
POSSESSIONS 
ANTIQUES,  Etc. 


“He  who  brings  buyer  and  seller 
together  in  honest  trade  does 
good  to  both” 

EDWARD  P.  O’REILLY 

Auctioneer  and  Appraiser 

Our  knowledge,  experience  and  re¬ 
putation  assure  the  satisfaction  of 
those  who  deal  with  us,  whether 
in  the  capacity  of  seller  or  buyer 

PLAZA  ART  ROOMS 

Incorporated 

5  and  7  East  59th  St. 
New  York  City 


DEVOE 

ARTISTS’  TUBE  COLORS 

Are  scientifically  true  colors  pre¬ 
pared  from  carefully  selected  pig¬ 
ments  thoroughly  incorporated 
with  the  purest  oil,  and  have  that 
finer  consistency  and  fineness  of 
texture  required  by  artists. 

The  fact  that  we  have  been  color 
makers  for  1  50  years,  no  doubt, 
is  sufficient  guarantee  for  their 
reliability. 

If  you  are  not  acquainted  with 
our  new  line  of  Equalized  Spec¬ 
trum  Colors  send  to  us  for  par¬ 
ticulars. 

Canvas,  Academy  Boards,  Fine 
Brushes  for  Oil  and  Water  Color 
Painting,  Artists’  Materials,  Etc. 

. . . . . . . . . . . mu . . . . . hi . 'I 

DEVOE  &  RAYNOLDS 

Incorporated 

New  York  Chicago 


o 

o 

L 

TEMPERA  L 

E 

COLOR  E 

O 

O 

THE 

ADEQUATE  MEDIUM 

OF  EXPRESSION 

For  Water  Color,  Poster 

or  Tempera  Work 

Ask  your  dealer,  or  write 
to  us  for  folder  explaining 
the  best  methods  of  use 

A. 

Sartorius  &  Go. 

INC. 

57  Murray  St.,  NEW  YOKK 

MARTINI 

WW 


WHY  DO  AMERICAN  POS¬ 
TER  ARTISTS  OF  THE 
FIRST  RANK  USE  AN 
AMERICAN  MADE  COLOR 
FOR  THEIR  WORK? 


DISTRIBUTED  IN  U.  S.  A.  BY 

FAVOR,  RUHL  8c  CO. 

NEW  YORK  BOSTON  CHICAGO 


WAR  PICTURES 


LOUIS  RAEMAEKERS 

whose  work  constitutes  one  of  the  greatest  forces  in  the  winning  of  the  war. 

AS  his  American  agents  we  offer  a  large  collection  of  his  original  drawings  and  prints. 
We  also  show  the  work  of  other  notable  war  artists,  many  of  whom  are  represented  in  this 
exhibition,  including  Steinlen,  Forain,  Jonas,  Brangwyn,  Spencer  Pryse,  Louis  Orr,  etc. 

WAR  POSTERS,  LITHOGRAPHS,  PRINTS 

An  Exhibition,  “Art  and  the  War,”  is  available 
for  communities  or  institutions,  accompanied  by  a 
stereopticon  talk  with  more  than  one  hundred  slides. 

BROWN  ROBERTSON  COMPANY 

7  West  42d  Street,  New  York  City  Inco1  ported 


7 


GETTY  RESEARCH  INSTITUTE 

3  3125  01202  5371 


